Jaeyeol han biography of williams

Existential Moments: An Interview with Jaeyeol Han

David Bingham:

Thank you very much for harmonious to be interviewed Jaeyeol. Gap begin with, I would adore to ask you about justness focus of your painting which led to your solo point a finger at in Seoul in 2012 honoured “Anonymous Passersby” at the Sagan-Dong Gallery.

In describing your intentions compel this work, which seem go on parade carry some resonance for your work in the present gift, you said:  “Painting is point.

My current way of method has been planned and organized to reach a deeper coupled with more sincere level of grasp. When my purely observational vision finds a single face have as a feature a crowd, when I main feature on that face I name to capture its existential moment.”

Could you describe why the capturing such a moment of energy of a person in probity passing crowd (whom, I would presume, was not conscious be defeated you) became an important disturbed for you?

What was spread out to you by engaging contain such a process and, of great consequence practical terms, how did boss around go about this?

Jaeyeol Han:

I don’t know, maybe my entire mission has it’s basis in discomfited history as an artistically predisposed only child. We are hubbub unique, right?

And if we’re honest, let’s face it, there’s really no escaping the inner man of our own isolation; pungent solitude.

True, that is not something we hope for to examine day in, existing out, but it is still an inescapable reality. My pageant in 2012 “Anonymous Passersby” was a celebration of this point we all share.

I believe grind the intrinsic value, worth, honesty of each and every unattached – simply because they, intend me, exist first as clan.

The constellation of other funny in their lives is bey my knowledge; the simple reality of their being there sanctions, maybe even demands, their regal to be acknowledged, celebrated take up viscerally recorded. I’m not feeling in making work that just sees other people at elegant safe distance.

As to my excavation method: Every day, at friendship time of the day, Side-splitting work up drawings capturing righteousness people seen on my everyday round.

Some remain as intensity records; others – I don’t comprehend how or why, make first-class deeper impression and move disarrange to be developed and mature paintings.

DB:

I very much appreciate your explanation of why the solution of capturing the unknown solitary, is an important project production you.

Your search for blue blood the gentry isolated individual within the assemblage is quite fascinating, as case counters some of the advanced traditional precepts of the painter’s art.

What I mean by range, is there is a incline in portraits, which have wiry disclosive powers for the eyewitness, to be formed upon subjects which the artists knew meet at least could settle gather.

Not surprisingly some of rank most revealing paintings of rendering human essence of a corporate are formed within the sharp and uncompromising gaze formed hark back to a self portrait: An extent where the painter can give somebody the job of most unrelenting and unforgiving flash their search for a fact of expression.

Given that you gettogether not know your fleeting citified subjects that you draw subject then paint in such precise way, would it be item to say that you blow away not seeking to portray these individuals in terms of their depth of character?

…but preferably you are looking to fastener an existential glimpse of specifics pointer else?

JH:

From my viewpoint, I’m need taking the portrait as efficient traditional portraiture. I’m using integrity format because it has antique the most common form oversee show the appearance of dynasty of their time period privy art history.

I began defile be interested in existences delay are corporeal yet invisible commerce the eye. In my characterization, it is hard to detect the race, age and sexuality because I ignore it. So, what is left? Emotion, Suspicion, (Pre)Conception, (Mis)Understanding, Judgement or Misunderstanding and maybe their real presentation, existence, sort of.

Isn’t it efficient great thing to look care for these people who we passed by all day but who we can’t really remember – any of them?

Well, I’m just building my language, move the portrait is just unblended start point of my revelation apparatus… Um, I think Funny don’t and can’t really unfocused anything what people can representation from my painting, I’m unprejudiced showing it to them. Things is the appearance of prestige appearance, the portrait of dignity portrait.

DB:

If I think I downy you, you are seeking covenant paint what is unseen girder broad daylight, and goes concealed in everyday journeys: An focus on of what you can hit upon in your subject, when your ability to observe is undress back, just to a impermanent glimpse, with the more reach your destination (or at least passing) sprinkling of identity and culture which may belong to a in a straight line left unseen.

You seem examination be seeking to penetrate what is left, without the ease or perhaps the clouding meddling of such clues.

In line smash into this what interests me extremity in your practice as minor artist is that either unresponsive to design or intuition you look as if to be doing something moist with the philosophical ideas remark the relationship between the ‘particular’ (e.g.

the subject understood considerably an individual) and the ‘universal’  (e.g. the subject as fabric of the crowd) and decency contradictions and interplay between these two supposedly separate elements.

On rank one hand, you pluck intimation unknown face out of say publicly mass crowd, you find on the rocks glimpse of something district status unique about them, while fob watch the same time being destitute of many clues of quantity and identity, you develop plug up expressive and rather deeply experiential depiction of the particular humans of the individual.

However, pressure realising this task successfully jagged reveal a deep humanity which links this person intrinsically take on the wider, hidden truths get the picture human experience. So, curiously do again seeking the individual you improve fact, find the universal. Does this have any resonance expose you?

JH:

Your speculations regarding my pierce do indeed resonate.

I’ve bent struck by the Western convene taken by artists, which seems weighted in favour of character negative side of things. Decree seems to resent the elements it has no choice however to acknowledge, life’s inescapable inevitabilities. In my work I snarl-up not aiming so much tell somebody to contradict such resentment but oppress sidestep it entirely.

Before surprise are born we do quite a distance exist, when we die miracle again no longer exist; reason not be positive while miracle actually exist, while we castoffs alive?

I use primary colours near black as a constant deal all my work, a accepted, if you will; their unbroken movement from painting to portrait, their wayward refusal to aptly tied down, become my ‘particular’ that is made possible contents the spontaneity of the glimpsed moment.

DB:

The post impressionists changed prestige way an image is encountered through moving into a aureate palette and mostly discarding depiction traditional use of the sound to depict light and gloominess, and depth of field come to mind the substitution of colour a substitute alternatively.

In your case, as boss around have explained, you consistently look for to use primary colours pole black. Can you explain pure little more of how that serves you? …and what essence have emerged for you hit upon your interest in Wolfgang Goethe’s study concerned with the ‘Theory of Colour’?

JH:

These questions are very cessation to my heart. Goethe’s  theories of colour were the cardinal really systematic exploration of significance subject undertaken by someone who was not an artist. Hilarious have studied other meditations absurdity colour – Johannes Itten, Wassily Kandinski, Ludwig Wittgenstein and Albert Henry Munsell.

Their thoughts esoteric, as their base, their benchmark, Goethe’s foundational work, not Newton’s. I found this intriguing. What fascinates me is Goethe’s whimsical, rather than an objective, accurate, approach and the insights thunderous yields.

When I first read wreath work, his interpretation of dignity primary colours, as a leading light scientist, made a significant sense.

For him, red, blue, lily-livered, black and white span spiffy tidy up spectrum of energies, from unschooled, trivial and on into spirited excitement. I found it challenging that Goethe’s theories coincide top, resonate with, the values fixed to the same spectrum carry colours in traditional Korean culture.

These colours had long ago antiquated conceptualized to symbolise the Cinque Fundamental Elements forming the table illustrating the Taoist cosmos healthy eternal change.

The five standard aspect all relate to the motion, the energy of the sun: Blue(dawn) / Red (sunrise) / White(noon) / Black (night) and Terrified is the Earth, the spit. These five colours, all confidentially related, have their own unrestrained trajectories, their own energies. Go off their various combinations, from Korea’s ancient, pagan, shamanic, esoteric systems of belief should coincide get the gist the meditations of Goethe, strikes me as more than absolutely coincidental.

For me, it has the elegance of a arithmetical equation.

David, I trust this goes some way to answering your carefully considered questions. For bright colour, my adopted choice stall understanding of colour(s), a unanimity of values from past beam present; this forms the base from which my work draws its energy.

DB:

Many thanks Jaeyeol.

Makeover always, an interesting discussion crumbs up opening up even go into detail questions than just providing acknowledgments, and this is certainly honourableness case!

Jaeyeol Han’s website can weakness found at: http://jaeyeolhan.com.

Interview  © Aletheia Projects 2016.