細節
金汀香
夢幻浴室 — Bari-medion #5
韓國傳統顏料 韓紙
2006年作
展覽:
2008年「Travelogue of Fantastic Public Bath」Song Eun畫廊 首爾 韓國
出版:
2008年《Travelogue of Fantastic Public Bath》Song Eun畫廊 首爾 韓國 (圖版,第16-17頁)

現代城市發展快速,逃避現實的精神狀態,變成普遍大眾的不安感;金汀香追求視覺上的幻想,從現實中抽離,她選擇水和沐浴作為宗教和文化象徵,也以此表達作畫的過程,是她個人清滌現代不安感的方法。色彩緊湊、相互糾結的結構,喚醒不丹的傳統工藝,進一步演化成宗教淨化的浴場,無數的沐浴者模仿不同的佛像姿態,以神聖的佛教圖騰「盤長」,象徵「迴環貫徹,一切通明」,表現和諧共融,沒有開端和終結;又利用「金魚」表達歡樂和自由。如此,宗教意義鮮明,但沐浴的隱藏喻意,更深層地觸及韓國的文化關聯。

韓國的公共浴場是大眾文化和傳統的社會現象。除了方便,更是一處家人朋友聚眾的休憩場所、一個零爭吵,個人身份被卸去,坦蕩蕩的地方,回歸到生物正常狀態—赤裸自然。類似於基督教的洗禮,油畫中的沐浴者從他們生存的痛苦不安和精神折磨中解放出來。金汀香運筆流暢,她以東方的繪畫經驗,控制色彩,同時融入韓國優雅的刺繡圖案—繡褓、用於包裝的“褓”那溫暖柔和的黃色和粉紅色調。油畫透過沐浴者米色透明的皮膚,散發出溫暖的氛囲,誘導一致的卡通肖像;她熟練的傳統著色技巧,超越「盤長」延伸的兩極範圍,使她的作品滲透感知和深度,貫徹終於如一、圓環流動的視覺主旨。金汀香在她個人的獨特作品中細膩地平衡了傳統與當代特色,遊走於真實與非真實之中,一個舒泰和心靈治療的理想空間。
出版
Song Eun Gallery, Travelogue of Fantastic Public Bath, exh. cat., Seoul, Korea, 2008 (illustrated, pp. 16-17).
展覽
Seoul, Korea, Song Eun Gallery, Travelogue of Fantastic Public Bath, 2008.

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拍品專文

In today's fast-growing urban society, a mental diversion of Escapism is a common anxiety in which Kim too strives to escape by diving into her visionary fantasy by opting water and bathing as religious and cultural symbolic means to demonstrate that the act of painting is her way to cleanse modern anxiety. With snugly controlled configuration of colors, traditional artisanship of Bhutanese art is evoked, and further accentuated by the religious purification of a bath place with minute bathers impersonating the postures of Buddha, which she shields them with holy Buddhist emblems of Endless Knot to represent harmony with untraceable beginning and end; and also by Golden Fishes to signify joy and freedom. The religious nuance may be clear, but the Korean cultural references also run deeper than the metaphorical contexts of bathing.

Korean public bath is a cultural and traditional phenomenon. Easily accessible, it is a place for retreat where families bond and friends socialize, a place devoid of judgments, where one's identity is stripped away bare, returning back to the biological nature of literally- being comfortable his or her skin. Thus akin to Christian baptism, the bathers in the canvas in pain now are relieved from their insecurities and alienation that once plagued their unappreciated existence. With her fluent handling of ink and subdued choice of color palette derivedfrom her oriental painting background, she simultaneously invokes benignly graceful patterns of Korean embroidery Subo and the genial yellow and pink tonalities of Bojagi. A warm ambiance is radiated from the canvas through the beige transparency of the bather's skins, inducing a flat resemblance of a cartoon, but her adept application of traditional pigments prevail over its inclination towards a two dimension with Endless Knot composition exuding a perceptual depth into the oeuvre, together with the consistent spherical movement of her visual motifs. Kim fruitfully stabilizes tradition and contemporary into a unique work of her own, moreover balancing an idea that negotiates between reality and unreality, an ideal space for comfort and spiritual healing.

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