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Jung Kwang Sik
Grandeur, 2012

Black Granite,Acrylic
60 x 3 x 90cm

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In this sculpture, Jung Kwang Sik sculpts onto the granite the landscape of a rainforest. The grinding done on the granite block follows two different directions, which can be clearly seen when one walks from the right to the left, and vice versa, of the sculpture. The black granite is painted green to bring out the lushness of the forest. Because of its innate grainy characteristic, it is able to absorb the green colour at different levels resulting in the variety of hues seen on this piece, further enhancing its richness. The art is finished off by painting three small houses at the bottom of the sculpture, painting the trademark hexagonal shapes. The houses are strategically placed amidst the plush forest to remind his audience of the magnificence of nature in comparison to humans - emphasizing on the fact that no matter how much humans succeed and grow, when seen from an aerial perspective, our significance is minuscule compared to the grandeur and majesty of our surroundings. The house is also reflective of the artist's personal desire to live a quiet, remote, and peaceful life alongside nature.

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  • +Artist Bio

    Internationally recognized for his masterful fusion of painting and sculpture, South Korean artist Jung Kwang Sik graduated in 1992 with a Stage Design major from Carrara Academy, Italy, later receiving his BFA from Hong-lk University in 1996. Utilizing beds of carved and scratched granite, which he then paints, his works suggest sweeping landscapes viewed from an aerial perspective. His exceptional skill of carving, scratching and painting creates a vision of landscapes as one might see them from 30,000 feet, materialized in trails of crustal movements, the swelling and contraction of the earth, and the etched beauty of erosion. The resulting visual field is majestic and unforgettable.
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  • +Critique

    Scenery Sculpture, Scenery of Mind Expressed by Sculpture  
    by Choi, Taeman (Art Critic)      

    There exists a peacefully flowing river across a frame, a widespread field and a mountain powerfully winding in and out in Jung Kwang Sik’s work. When you come close to the work you notice an artificial city with dense buildings which reminds you of landscapes seen from a bird’s-eye view. Although his works are not drawings, but sculpture of stone, they contain the character of a painting. The texture made by using the grinder reminds us of the ground and with the grinder he is able to materialise trails of crustal movement, rising and erosion on the stone plates. They resemble the surface of the earth or moving waves. His works personify scenery and that’s why his works remind you of natural scenery when you look at them. If the stone plates were not coloured, they could resemble landscapes before the world began. His works have evolved from abstract works to scenery. In his abstract works, which are cubes with uneven fringes, texture overwhelms the cubes. 

    His works have uneven surfaces which means they are sculptures in relief. With colours layered on top of the scratches, they very closely resemble paintings. Grinding work has a limitation in terms of direction and it usually only results in regular hexahedron shapes. Jung’s works represent architecture as they add colours to the tilted small hexahedrons which appear as cities, villages, and roads. This enhances the nature of paintings in the works. Riverside houses packed close to each other look like European cities rather than Korean ones, or look like construction on deserted highland. However, it should be noted that his scenery does not represent a particular region. Rather, his scenes are images which are created in his mind. The scenery is always shown from a distance and far from human subjects, one can discern his attitude of contemplation. 

    Why does he focus on the scenery sculpture? The answer is that he wants to create works that are similar to a stage set. Interestingly, he majored in stage arts in Italy. His experience with stage arts definitely affects the perspective of looking at the objects and works around him. 

    Upon closer inspection of his work, you come into contact with their surfaces. Visual tension and relaxation that are present in his works add to aesthetic character as density-dispersion, high-low pitch and stress result in aesthetic effects. 

    In conclusion, his work are all-over reliefs containing paintings of nature as they are full of texture. He attempts to let the viewer experience the surfaces of the materials through touch and creates huge landscape scenes using fine cracks.  

  • +Exhibitions

    Bill Lowe Gallery, Atlanta, GA, USA

    Nampo Art Museum, Goheung, Korea (July)
    Ponetive Space, Paju, Heiry, Korea (September)

    Healing Scenery II, Gallery Jak, Korea
    VIEW, Insa Art Center, Seoul, Korea

    City of Imagination, Sol Beach Gallery
    Healing Scenery, Gallery Jak
    VIEW Insa Art Center, Seoul, Korea

    Ponetive Space, Paju, Heiry, Korea

    Gallery On, Seoul, Korea

    Sungbo Gallery, Korea

    Insa Gallery, Korea

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