CHUN KWANG YOUNG Chapter 3 : The Completion of Aggregation Technique
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: Chun Kwang Young
Museum Ground is hosting its third solo exhibition by its founder, painter Chun Kwang-young, from Apr. 22, 2021. To mark the 60th anniversary of the opening of the museum ground in 2019, the seven-chapter project will cover the early works of Collective Aggregation, featuring paintings from the late 1960s to triangles appearing from 1992 in Chapter 1 (2019.08.30~2020.01). Chapter 2: Blue & Yellow (2020.03~2021.07) conducted a color exhibition that organized a special space with paintings and yellow and blue works from the current collective exhibition. The following Chapter 3 presents the works of the finished period of original speech that served as a stepping stone to Chun's fame as a world-class artist on a continuation of the chronological exhibition.
The most notable event during this completion period was the 2001 Artist of the Year Award in Korea, the National Museum of Modern and Contemporary Art held the Artist of the Year exhibition, and in 2003, he was invited to Art Unlimited by Swiss Art Basel, a world-class art fair. These events will be recognized both domestically and internationally for his unique formative language, and will be evaluated as independently incorporating the Aggregation series that crosses planes and solids into the existing mainstream flowerbeds.
At that time, Oh Kwang-soo, director and critic of the National Museum of Modern and Contemporary Art, said, "The identity of Chun Kwang-young's work is first found in the creation of its material and unique spatial concept." The creation of a unique spatial concept as well as the identity of a material is constantly overcoming the stagnation phenomenon of his art by accompanying various changes. As already pointed out, what constitutes his work is due to the logic of the collection of small objects. A unique concept of space arises only when it is an individual and aims at the whole. The connection of objects, mutual collisions and combinations, and structural aspirations for the whole are specific details that create the concept of space. The unity of small units toward the whole enriches the screen by creating an illusion visually while being elastic," and interprets the unique characteristics of the screen obtained through the encounter between the formative language and space of Chun Kwang-young's collective work.
In Chapter 1, we looked at the artist's Korean emotions, memories of herbal medicines, the discovery of Korean materials found while reconsidering the intrinsic cultural identity through the heterogeneous culture experienced by the postwar generation studying abroad, and the primitive screen of collective works that are linked to abstract expressionist paintings through the series of "series of lights" created by oil paintings and canvases. In this Chapter 3, Styrofoam is added to the material called Hanji containing the characters he discovered to enable more free use, making the screen sophisticated and organized with various changes. By attaching a triangular Styrofoam and a unit individual called Hanji, in which the characters wrapped around it are written, to the panel, the characters written on Hanji control the dark and lightness of the screen, and his formative language is completed through accidental encounters created by the light reaction as the unit triangular solids are erected and laid down. During this period, he not only works on flat surfaces, but also embraces space more actively, expanding to three-dimensional work. Through Chun Kwang-young's second chronological exhibition, Museum Ground wants to go back to 20 years ago when the artist's original speech drawing international attention was completed, feel the passion of an artist, and look back on his "collective method" that has become history.