![]() ![]() Perishable objects such as twigs and luxury bags, as well as colored lights, are located in plastic houses installed in dark rooms. Whang In-kie's "Today That Will Be Yesterday by Tomorrow" (2015) on display at Wumin Art Center in Cheongju, through June 13.Īt his solo exhibition "A Journey After, a Journey Before" currently underway at the Wumin Art Center in Cheongju, North Chungcheong Province, Whang presents a new installation from the "Today That Will Be Yesterday by Tomorrow" series. This lack of independence should be discussed in Korea now." People don't buy it because they like it, but everybody else has it. "The Louis Vuitton bags are so popular and even nicknamed a "three-second-bag" in Korea, which means they are seen on the street every three seconds. Whang's critical attitude toward consumption culture is portrayed in a piece of "Today That Will Be Yesterday by Tomorrow," which features 44 Louis Vuitton speedy bags, contaminated or torn and hung on hooks. So I contemplated extinction, which resulted in the new series," he said. "To begin with, I doubted the sweet temptation of a great future. While continuing his large-scale digital landscape works, Whang embarked on a new series titled "Today That Will Be Yesterday by Tomorrow" around 2011. "That is why I interpret traditional landscapes by master painters such as Jeong Seon, as if I'm having a drink with him." My works take a rather humorous attitude toward nature," the artist said. However, nature has become something to be conquered in modern times. "In the past, people were more environment-friendly with some fear of nature. His works reflect changes in attitudes toward nature. Whang In-kie's "Today That Will Be Yesterday by Tomorrow" (2014) featuring Louis Vuitton bags. ![]() Plastic blocks are superficial - they are shiny and smooth, but far from elegant or profound, just like thick make-up on an entertainer. I choose them instinctively, but later I find a connection. It should be in units and available for repeatable acts. "I pick the materials based on their characteristics. Whang puts industrial ready-made materials onto his paintings, adding a new layer both physically and internally. "I live in the 21st century and work with the available materials, though I share similar thoughts toward nature." In the past, they only had paper and ink, so they painted ink-and-wash paintings," Whang said. The artist said he "interprets" the classic landscapes, "I work with traditional landscape paintings because what I feel from nature wouldn't be much different from my ancestors' inspiration from nature. ![]() He first transforms his own landscape paintings or Korean classic landscapes such as Gyeomjae Jeong Seon (1676-1759)'s "Geumgang jeondo" (1734) into digital pixels, which is the smallest addressable element in digital imaging.Īrtist Whang In-kie sits in front of his artwork. Whang works with various materials such as Swarovski crystals, silicon and rivets in addition to plastic blocks. "As I live in an almost entirely secluded rural area, my life became more relevant to nature and it influenced my art." I returned to Seoul for 10 years and finally settled here in Okcheon, North Chungcheong Province some 20 years ago," Whang said. After growing up in Chungju for the first decade of my life, I lived in Seoul for 15 years before moving to New York City, staying there for 11 years. "My art begins from my life, and the art comes back to my life. ![]() Whang began the "Digital Landscape" series around 2000. "I found art more engaging as I created something new." I didn't want to become rich rather I wanted to know more about the world," Whang said at an interview with The Korea Times. "I had doubts about my university education as people go to university to earn money with what they learn from there, not for academic purposes. Whang In-kie's "Dream Journey - Hallucination" / Courtesy of the artist He entered the engineering school at Seoul National University to study applied physics, but quit and re-entered the same university's College of Fine Arts instead. This is part of Korean artist Whang In-kie's "Digital Landscape" series.īorn in 1951 in Chungju, North Chungcheong Province, Whang did not steer himself into the art world at first. It presents a new angle to view spectacular but hackneyed traditional landscape paintings. At first glance, it might look like another modern reproduction of a traditional landscape painting, but when examined closely, its embossed surface comes from plastic blocks attached to a digitized image on the canvas. ED.Ī large canvas features a traditional Korean landscape in red and black. This is the 10th in a series of interviews with notable artists recommended by the Korean Artist Project, an online platform promoting Korean art. Whang In-kie's "Pla Mountain 09-188" (2009) / Courtesy of the artist ![]()
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