obsession / Acrylic on Canvas, 2010 / 91 x 73 cm (35.8 x 28.7 inch)

KEYWORD> flower | beautiful | passionate

  • obsession
  • By  Kim Yang-hee
  • Acrylic on Canvas, 2010
  • 91 x 73 cm (35.8 x 28.7 inch)
  • CODE: 0719636

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기억으로부터 발생하여 상상으로 피어나는 꽃

김양희가 그리는 꽃은 작가의 기억 속에서 되살아나오는 어린 시절에서부터 기인한다. 어린 시절의 생활 주변에서 반복적으로 맡았던 꽃의 향기가 작가의 기억 속에 깊이 각인되어 수 십 년 뒤에까지 그것을 기억하게 만들었고 작품 속의 이미지로 환생하게 만들었다. 꽃은 시각으로만 기억되지 않고 후각이나 촉각 등으로도 기억된다. 그러나 김양희의 어린 시절의 꽃들은 시간의 경과에 비례하여 그 자체의 모습에 대한 사실주의적 선명도를 점차 잃어가고 있으며 그렇게 잃게 된 선명도의 빈자리를 작가의 상상력이 대신 메워가고 있다. 따라서 김양희의 꽃은 기억으로부터 발생하여 상상으로 마무리되는, 작가의 주관적인 감각의 경험과 의식을 드러내는 꽃인 것이다.

김양희는 자신이 화면에 도입하는 꽃들에게서 추억과 함께 물활론(物活論)적 정서를 느낀다. 그러므로 작가가 자신의 작품 속에서 시각화해내는 꽃은 우리의 공통정서에 자리 잡은 평범한 꽃의 실재이고 그것이 시각적으로 구현된 이미지이면서 동시에 그것을 넘어서는 생명이며 에너지인 것이다.

Works of same category by This artist

Artwork Information


Desire of Flowers

Yang-Hee, Kim has been drawing flowers. Her flowers expressed by the thick brush strokes are very familiar images and we can feel the plumpness from the volume of leaves as like a feeling dropped from heavy pulp of tropical flora. The pollen is scattered in the wind. The lines like sticky liquid are drawn around the outskirts of the flowers. The gauzelike thin lines as a cobweb are tempting us to the secret room just like a spider's temptation while it builds its nest. Like sweet melody, these lines disperse and again soak into between around the running liquid, as if it is attracted by some powerful magnetism.
She has constantly sought for the variation of living things such as mutated flowers. So that the flowers in her works metastasize an insectivorous plant. The power being emitted from the deep of thick leaves is to feel very heavy for our eyes. It brings different feelings from the splendor, beauty, and tenderness associated with the subject matter of 'flower'. Her flower itself looks very light visually but it has hidden another inside.
The title of her works, 'Obsession', is 'a something to fascinate her'. These desire and impulse from her obsession permeate her body therefore she is drawing the flowers in the core of her works. 'Obsession' is not a ideology which reproduces the desire and impulse. But it is something deep to convey something visible, that is the destiny of living things to constantly transform to something invisible.
The body is a main part of thought in our everyday life. But the body could not always have succeed to express its desire by itself with language. Although the body with self observation constantly spreads out a lot of story with normal language, there is the insufficiency of the disagreement between the body and the language. Language merely can expressed just a part of body forever.
To use the expression of Merlean-Ponty, people have related with not only the surrounding of their body from living but also the body of having good command of language. The body is the subject of experience as well as thinking. Therefore, the body can not help thinking another dimension from the vibrations between pure consciousness and pure nature, activity and passivity, autonomy and heteronomy, reflective and positive thought. It is the limits of body that could not be decided as a specific appearance. If the body has significance and the significance is produced from the body, it will appear through the system of representation.

Yang-Hee, Kim in her flowers is approaching to a part of desire to cling to something. This is the attachment to overcome anxiety from her inside. She intentionally exposes her inside by means of breaking down her anxiety. With the inspection of its hidden desire she breaks down herself again through her works. Desire and impulse permeate into her body and then stand in the core of her drawings. Flowers are described as the core of a active and passive body system. As if flowers always are not themselves, the body turns to be mixed with, imagined as and created as another.
Flowers colored by pink, yellow, and primary colors are their wish already exposed. The wish has hidden itself under the limits of unavoidable destiny. The structure of a plant which consists of root, stem, and leaf has the destiny that it sticks to the ground without any movement. It is a destiny of plant that should be accepted as the laws of nature for a long time from. And it is the heavy truth on our shoulders. The truth is a shadow of silence behind a lot of colorful praise as like success. In order to overcome that flowers have a figure of temptation by fragrance, brilliant colors, and sweet honey. They look forward to liberty through a body of an insect. They let tiny cells of pollen scatered to all directions in order to show off their existence to us that are not bound by their destiny.
The flowers of Yang-Hee, Kim spread out their alter egoes to all directions as like pollen. The sticky white emission from the flowers is not only the eternally opened world of desire and emotion but also an incomplete world(difference). It is her passion which emits onto another incomplete world(l'autre difference) far from the realm where could be difficult to be explained with esthetic inference based on rationality such as comparision and harmony.

The artist comes apart the fatal anguish of flowers into the sticky liquid and its cobwebbed traces in her works which soften decorative brilliance. Energies from her inside is let to spread to all directions. Human time restraint and historical yoke is cumbersomely felt as like a deeply stuck root. The fate that they can not move turns to be seeds, which get scattered around. The seeds are her wish that she would send far away the life time hidden in the inside of fruits untouched.
Flowers already have a ability to conceive life with beautiful figures of temptation. Due to it flowers can be identified with the femininity of an animal world. Flowers are not only a reflected image of artist's thought, but also another body which is reflected through artist's body. Yang-Hee, Kim recreats something that it is difficult to undefine as flowers with keeping a original figure of plants which is not againt any other creature.

Kwang-Suk, Jo (Art Critic)