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.....Magical pictures, Young Korean Kyung-A Park at the Galerie im Morgner-Haus. SOEST: After only five weeks, Dr Thomas Oyen presents his second exhibition in his Galerie, now with works by a young Asian artist Kyung-A Park. Once again the exhibition was an experience for the eyes and ears. Irmgard Himstedt, a flautist and percussionist from Cologne, opened the proceedings. She improvised, making two instruments react to the pictures, her own voice and almost in parallel the flute, and made both harmonious.

..... "Unobtrusive, poetic and full of secrets" The highlight of the celebration was the speech by Udo Scheel. His introduction to the artist’s work was a guided tour of the latest painting based on the greats from the Renaissance to today. Scheel, emeritus rector of the Kunstakademie Munster, spoke for the refined work of the artist. It was "Unimposing, poetic and full of secrets, far from any spectacle".

.....Kyung-A Park, born in 1974, was 20 years old when she started her studies in her native South Korea. In 1998 she came to Germany because she felt drawn to the expressionists and wanted to experience the inheritance of this period at a German university. In 2001 she became Udo Scheel's master student. Under his tutelage she found a way out of concrete painting to abstract landscapes.

..... "Sensitive picture landscapes" is how her teacher describes her work. The motive of landscape painting is her main subject, this is where she feels at home, she says. Her passion is devoted to the painting process. High quality pictures are created. The peace and calm that radiates from them makes the observer catch his breath. He looks for ways into the pictures and discovers himself in them.

.....This process of seeing is reinforced through windows or mirrors which can be found in almost all 30 of the exhibits. The frames of this imaginary window seems to restrict the represented space, giving it substance and stability. Simultaneously, the window indicates a world view, an inside and an outside, a reflection of oneself. The oil picture "although with me I" seems to unite all this. A monochrome brown space on the lower edge leads the observer across a suggestive floor into the picture. Large high glass walls overhang it, give space and sight over the landscape in which two trees are standing in a diagonal.

.....Snow is lying on the fields and large amounts of snow cover the branches of the two trees with lightness and spiralling brushstrokes. Single green areas carefully appear but the winter does not seem to be defeated. The tenderness and transparency of the picture motives is reinforced in many of the other, also large-format pictures. An increasingly veiled image is produced which in turn increases the reflexivity. Kyung-A Park has learnt her craft. In this, her first single exhibition, she knows how to entrance the observer, but "the pictures are not suitable for pure decoration!" (Scheel). - Source: Soester Anzeiger

.....Sensitive picture landscapes, The pictures by Kyung-A Park are unobtrusive, poetic and full of secrets, far from any spectacle. A magic lives here, a silence and melancholy which transfers to the observer. The artist's calm, sweeping view and her contemplative tarrying on the objects and appearances of her interest melt landscapes and interiors into "inner pictures".

.....Sometimes, painted reflexes indicate window panes which appear between the painter and her subject, sometimes translucent materials move through the picture spaces, through the famous "open window" of the renaissance painters, we look at a horizon where our views unite in a flight point.

.....The painter Kyung-A Park uses the frame of a window as a stabilising element, her location and her view, however, are unstable and changing. She suggests a gently moving flow between perception and imagination, between waking and dreaming, between experiencing, remembering and reflection.

.....Her pictures are not representations or views, they change between time and space, between movement and being still, between light and dark, between pregnancy and diffusion. In the static framework of the picture, reflexes, plays and shimmering, transparent materials obtain a picturesque life of their own. The artist’s sensitivity and mood create the "romantic" atmosphere of these pictures.

..... The authenticity and quality of the pictures depend on the harmony of personal sensitivity and artistic expression. In the picture "Du bist", 100x130 cm, 2004, vertical brushstrokes mark a glass partition wall through which the viewer sees a green, snow-bedecked treetop in the diffuse grey light. A wonderful picture and a symbol of tender but essential magic.

.....Kyung-A Park’s pictures are highly reflexive paintings. She does justice to her artistic claim to the "general production" of pictures through a pronounced awareness of the problem and through convincing solutions in artistic experiment. In this way she combines figure and background through painted passages to unity, she balances spatial ambivalence, finds painted connections between disparate elements: between form and resolution, between static and movement, between separation and merger.

.....The conditions and laws of painting are always readable. This results in restructuring, reworking, metamorphoses and “mispaintings” which always return the complex picture make-up into the homogeneous spaces. At the end, a picture is created which convinces. You have to take time for Kyung-A Park’s "sensitive picture landscapes". You can lose yourself in them and simultaneously find yourself. - Professor Udo Scheel

.....감성적 풍경회화. 작가 박 경아의 회화는 시선을 자극하는 떠들썩하고 화려한 회화와는 다르게 시적이며, 많은 비밀을 간직하고 있다. 그녀의 회화에는 관객에게 전달되는 그 어떤 마력과 고요 그리고 애수에 가까운 차분한 감성이 내재되어 있다. 작가의 고요히 방황하는 시선과 그리고 외부 현상에 대한 작가의 명상적인 관조는 풍경과 인테리어를 일종의 “내면의 이미지”로 용해하여 전이시킨다. 때로는 그려진 반사의 흔적이 작가와 그려진 모티브 사이에 놓여 진 유리창을 시각적으로 인지하게 하기도 하고, 때로는 투명하게 비쳐 보이는 천이 회화 공간을 채우기도 한다.

.....르네상스 화가들의 그 유명한 "열린 창문"을 통해 우리는 시선이 한 소실점에서 만나는 수평선을 쳐다본다. 작가 박 경아는 그림 속에서 창문의 테두리를 정적 고정의 한 요소로서 사용하지만, 작가의 위치와 시선은 불안정 하고 가변적이다. 이를 통해 작가는 인지와 상상의 사이, 깨어남과 꿈의 사이, 체험, 회상 그리고 관조의 사이를 가볍고 조용히 움직이는 일종의 부유 상태를 암시한다.

.....이 작가의 회화는 어떤 특정한 풍경이나 광경을 재현 하지 않는다. 그녀의 그림들은 시간과 공간, 움직임과 정지 상태, 밝음과 어두움, 명료함과 혼돈 사이를 오간다. 정적인 그림의 테두리 안에서 반사, 반영, 어렴풋이 빛나는 투명한 물체들은 조형적인 독자적 힘을 발휘한다. 그림의 "낭만적인" 분위기를 연출하는 것은 작가 자신의 감수성과 내적 상태와 결부된다.

.....회화의 진정성과 질적 수준은 작가가 얼마나 개인적 감성과 예술적 표현을 성공적으로 조화 시키느냐에 달려있다. 그림 '당신은 2004'에서는 수직적인 붓의 움직임으로 생긴 흔적이 일종의 유리 분리 벽을 시각적으로 만들어 낸다. 이 분리 벽을 통하여 관객은 불명료한 회색빛 속에서 부분적으로 녹색을 뛴, 눈 덮힌 나무의 윗부분을 보게 된다. 하나의 놀라운 이미지, 부드럽지만, 피할 수 없는 마력의 상징을!

.....작가 박 경아의 작업은 깊은 관조와 숙고를 전제로 한 회화이다. 그녀는 뚜렷한 문제의식을 가지고 예술적인 실험 속에서 설득력 있는 해답을 찾아가는 시도를 통해 그림의 "점차적인 완성" 과정에서 작가 자신의 예술적 이상에 접근한다. 작가는 모티브와 배경을 회화적인 경로를 통해 조화로운 단일체로 결합 시키고, 모순된 복잡한 공간에 균형을 부여한다. 그리고 형태와 해체, 정지와 부유, 분리와 결합 등의 서로 상이하고 다양한 회화요소 사이에서 예술적 결합을 찾아간다.

.....이 안에는 항상 회화의 기본 조건들과 법칙들이 전제되어 있다. 이 회화의 기본 조건과 법칙을 바탕으로 작가는 구조, 변형, 수정, 변화, "덧칠"을 통해 그림의 복합적인 구조를 균등한 평면으로 재구성 한다. 결국 하나의 회화 작업은 설득력 있는 회화로서 자신을 주장한다. 이 작가의 "감성적 풍경회화"의 감상을 위해서 관객들은 많은 시간을 할애해야만 할 것이다. 관객들은 이 풍경 속에서 자신을 잃기도 할 것이고, 동시에 자신을 찾기도 할 것이다. - 우도 쇨 교수, 윈스터 쿤스트 아카데미 학장, 베를린, 2005.

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