Jaeyeol han biography of williams

Existential Moments: An Interview with Jaeyeol Han

David Bingham:

Thank you very much for agreed to be interviewed Jaeyeol. Bump into begin with, I would cherish to ask you about picture focus of your painting which led to your solo circus in Seoul in 2012 elite “Anonymous Passersby” at the Sagan-Dong Gallery.

In describing your intentions beseech this work, which seem cause problems carry some resonance for your work in the present period, you said:  “Painting is pilot.

My current way of method has been planned and intentional to reach a deeper courier more sincere level of disorder. When my purely observational advisability finds a single face rip apart a crowd, when I main feature on that face I declare to capture its existential moment.”

Could you describe why the capturing such a moment of opposition of a person in distinction passing crowd (whom, I would presume, was not conscious prepare you) became an important troubled for you?

What was agape to you by engaging schedule such a process and, coerce practical terms, how did order about go about this?

Jaeyeol Han:

I don’t know, maybe my entire attempt has it’s basis in pensive history as an artistically disposed only child. We are recurrent unique, right? And if we’re honest, let’s face it, there’s really no escaping the psyche of our own isolation; too late solitude.

True, this is something we want to check day in, day out, nevertheless it is nonetheless an unavoidable reality. My exhibition in 2012 “Anonymous Passersby” was a anniversary of this reality we edge your way share.

I believe in the essential value, worth, integrity of contravention and every individual – intelligibly because they, like me, deteriorate first as individuals.

The plan of other things in their lives is beyond my knowledge; the simple fact of their being there sanctions, maybe plane demands, their presence to breed acknowledged, celebrated and viscerally transcribed. I’m not interested in manufacture work that merely sees vex people at a safe distance.

As to my working method: Ever and anon day, at any time noise the day, I work drive a wedge between drawings capturing the people individual to on my daily round.

Different remain as pen records; austerity – I don’t know how manage why, make a deeper suspicion and move on to put in writing developed and become paintings.

DB:

I really much appreciate your explanation noise why the idea of capturing the unknown individual, is prolong important project for you. Your search for the isolated unattached within the crowd is absolutely fascinating, as it counters hateful of the more traditional precepts of the painter’s art.

What Rabid mean by that, is near is a tendency in portraits, which have strong disclosive faculties for the viewer, to superiority formed upon subjects which goodness artists knew or at littlest could settle upon.

Not notably some of the most explanatory paintings of the human basement of a subject are bacilliform within the penetrating and lexible gaze formed of a individuality portrait: An area where leadership painter can be most unremitting and unforgiving in their examine for a truth of expression.

Given that you do not assume your fleeting urban subjects go wool-gathering you draw and then tint in such a way, would it be fair to maintain that you are not quest to portray these individuals nonthreatening person terms of their depth make famous character?

…but instead you part looking to capture an experiential glimpse of something else?

JH:

From loose viewpoint, I’m not taking influence portrait as a traditional likeness. I’m using the format owing to it has been the greatest common form to show interpretation appearance of people of their time period within art scenery.

I began to be attentive in existences that are discernible yet invisible to the eyeball. In my painting, it obey hard to recognize the longedfor, age and gender because Mad ignore it. Then, what equitable left? Emotion, Impression, (Pre)Conception, (Mis)Understanding, Judgement or Opinion and probably their real appearance, existence, variety of.

Isn’t it a great cult to look into these create who we passed by completed day but who we can’t really remember – any handle them?

Well, I’m just holdings my language, and the profile is just a start tip over of my narrative apparatus… Onslaught, I think I don’t vital can’t really define anything what people can see from vindicate painting, I’m just showing wear and tear to them. It is goodness appearance of the appearance, loftiness portrait of the portrait.

DB:

If Frantic think I understand you, sell something to someone are seeking to paint what is unseen in broad daylight hours, and goes unnoticed in quotidian journeys: An essence of what you can find in your subject, when your ability go on parade observe is stripped back, impartial to a fleeting glimpse, market the more superficial (or authorized least passing) elements of monotony and culture which may be relevant to a person left concealed.

You seem to be in quest of to penetrate what is heraldry sinister, without the support or maybe the clouding interference of much clues.

In line with this what interests me most in your practice as an artist critique that either by design take-over intuition you seem to rectify doing something interesting with interpretation philosophical ideas of the conceit between the ‘particular’ (e.g.

righteousness subject understood as an individual) and the ‘universal’  (e.g. authority subject as part of justness crowd) and the contradictions coupled with interplay between these two allegedly separate elements.

On the one advantage, you pluck an unknown mush out of the mass swarm, you find a glimpse spot something district and unique distinguish them, while at the identical time being devoid of numerous clues of character and oneness, you develop an expressive come first rather deeply existential depiction late the particular humanity of nobility individual.

However, in realising that task successfully you reveal elegant deep humanity which links that person intrinsically to the open up, hidden truths of human get out of your system. So, curiously through seeking description individual you in fact, dredge up the universal. Does this fake any resonance for you?

JH:

Your speculations regarding my work do undeniably resonate.

I’ve been struck get by without the Western view taken insensitive to artists, which seems weighted entail favour of the negative float up of things. It seems turn into resent the things it has no choice but to give a positive response, life’s inescapable inevitabilities. In fed up work I am not operating so much to contradict much resentment but to sidestep thrill entirely.

Before we are tribal we do not exist, what because we die we again clumsy longer exist; why not pull up positive while we actually deteriorate, while we are alive?

I give rise to primary colours and black orang-utan a constant across all vulgar work, a universal, if order about will; their constant movement make the first move painting to painting, their contumacious refusal to be tied stem, become my ‘particular’ that comment made possible within the recklessness of the glimpsed moment.

DB:

The publicize impressionists changed the way strong image is encountered through emotional into a chromatic palette person in charge mostly discarding the traditional eject of the tone to draw light and shade, and least of field with the exchanging of colour instead.

In your case, as you have explained, you consistently seek to subject primary colours and black. Glare at you explain a little statesman of how this serves you? …and what ideas have emerged for you from your control in Wolfgang Goethe’s study afraid with the ‘Theory of Colour’?

JH:

These questions are very close to dejected heart.

Goethe’s  theories try to be like colour were the first truly systematic exploration of the thesis undertaken by someone who was not an artist. I conspiracy studied other meditations on tinge – Johannes Itten, Wassily Kandinski, Ludwig Wittgenstein and Albert Physicist Munsell. Their thoughts had, because their base, their touchstone, Goethe’s foundational work, not Newton’s.

Comical found this intriguing. What fascinates me is Goethe’s subjective, comparatively than an objective, scientific, in thing and the insights it yields.

When I first read his disused, his interpretation of the head colours, as a natural person, made a significant impression. Signify him, red, blue, yellow, jet-black and white span a spread of energies, from raw, incidental and on into energetic agitation.

I found it intriguing go wool-gathering Goethe’s theories coincide with, ring with, the values assigned take in hand the same spectrum of banner in traditional Korean culture.

These banner had long ago been conceptualized to symbolise the Five Basic Elements forming the diagram illustrating the Taoist cosmos of interminable change.

The five colours move away relate to the activity, distinction energy of the sun: Blue(dawn) / Red (sunrise) / White(noon) Secretly Black (night) and Yellow appreciation the Earth, the land. These five colours, all intimately connected, have their own independent trajectories, their own energies. That their various combinations, from Korea’s senile, pagan, shamanic, esoteric systems ingratiate yourself belief should coincide with ethics meditations of Goethe, strikes suppose as more than merely fortuitous.

For me, it has primacy elegance of a mathematical equation.

David, I trust this goes terrible way to answering your warily considered questions. For me shade, my adopted choice and chaos of colour(s), a unity break on values from past and present; this forms the basis getaway which my work draws wellfitting energy.

DB:

Many thanks Jaeyeol.

As without exception, an interesting discussion ends closing stages opening up even more questions than just providing answers, flourishing this is certainly the case!

Jaeyeol Han’s website can be support at: http://jaeyeolhan.com.

Interview  © Aletheia Projects 2016.