AXIS 2023
페이지 정보
Date. 2023.05.25 - 07.21페이지 정보
Place. 021galleryContents
AXIS 2023
The 'AXIS' exhibition held every year at the
021 Gallery is a young artist project.
‘AXIS 2023’ is in its 8th year
this year. This exhibition is a planned exhibition which seeks to become a
foundation for creative activities of talented new artists to devote themselves
to their works. AXIS exhibition seeks to be a place for artists from various
regions, including Daegu, to expand the scope of exhibitions and work
activities by exchanging with each other beyond the region where they are
based.
This year, ‘AXIS 2023’ will be held as a 4
person exhibition in the Beomeo Hall and 1 person exhibition in the Sangdong Hall.
Beomeo Hall is joined by artists Minhee Kim,
Nosik Lim and Seongjoon Hong who strive for ‘drawing’ as painting and
figuration, and metal craftsman Glory Kim, who pursues diversity of beauty
through grotesque aesthetics.
Minhee Kim mainly
brings images from Japanese animation, cartoons, and games in the 1980s and
1990s as sources for her work. The images of female characters consumed by the
public from the past to the present are drawn in her own way, and she works to
twist the typicality of female representation by bringing the facial shapes
that existed in the past into the present face with self-consciousness and
desire.
“I like the word ‘Futro’. It is also an
expression that transcends the distinction between past, present and future. I
value the future, not ‘retro’. It is my goal in my work to derive some
futuristic yet realistic power from the original image, which is often the
object of nostalgia.”
- From the Interview Article
Glory Kim focuses on changing
the realm of ugliness into ‘beauty’, and presents metal craft work that draws
out shapes by disassembling or distorting objects through his unique impromptu
and rough hammering. In the realm of craft, one can encounter installation
works that aim to expand craft by claiming non-craft elements.
“Ugliness is something that evokes an unfamiliar
feeling out of universal beauty. Then, wouldn't it be possible to see that ugly
means new? Furthermore, can we expand beauty by accepting ugliness? These
questions are the foundation of my work, and I work with inspiration from
grotesque aesthetics with the idea that various beauties should be respected.
By utilizing organisms and human body distortions and recombinant elements in my
works, I pursue work that expands the realm of beauty through ugliness. In
addition, I want to expand the craft through non-craft elements, such as
minimizing functions, expressing intuitiveness, hammering, and using welding as
an excessive texture.”
- From the
Artist’s Notes
Nosik Lim works by keeping a
distance from objects or phenomena in the process of embodying images collected
in everyday life into paintings. “Everything is finely connected to that
place, and the more you focus on each, the more distant you are from that
place.” (From the Artist’s Note)
In the repeated process of drawing and
erasing the entire screen on the canvas, the thin layers pile up and flow down,
and the emptied landscape transforms into unknown shapes and forms that erase the
delicate borders of achromatic colors.
The further you are from the place (there)
and the thing (pictorial space) the closer you can get. There is something
where there should be nothing, and there is nothing where there should be
something. By the time it is perfectly adjusted, everything will be back to
where it belongs.
- From the
Author's Writings
Seongjoon Hong works on the
theme of ‘Layers’, where he collages and reinterprets exhibition halls or daily
scenes with his camera on canvas, and thinks about another color to put on top
of while drying and piling up acrylic paint. The artist cuts off the
metaphysical approach to painting and focuses on the act of painting itself.
The subject matter of the work begins with photos of water, natural objects
with sky, or landscapes taken by himself. Simplifying these materials into
colors, he piles them up like colored paper on the canvas. The clouds and soap
bubbles in the sky are scenes that actually existed, but they are drawings
projected by the artist's illusion.
“The works until 2018 and 2019 have changed from
the focus of the act to the consideration of the screen and the object itself.
This made me focus more on what people want to see in the line of sight, which
led to concerns about the screen itself. Trying to use the collected photos as
formative elements of the work eventually led to expressing of the digital
screen layer as a painting. In this ‘Layers’ work, the method of collecting
through the camera and the collected images are used as they are, but the
composition itself has emerged as a concern about the layers of painting and
the basic physical properties. In particular, the painting expressed on the
canvas maximized the layer and flatness of the shadow with the airbrush
technique.”
- From the
Interview Article