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  • 2017 2nd AUO Artist
  • Son Yuhwa
  • Central Saint Martins, Mres Art Theory and Philosophy, 3rd semester
  • Son Yuhwa lives and works in Seoul and London. She is currently studying Practice-based Mres Art Theory and Philosophy at Central Saint Martins in London. Yuhwa explores the possibilities of painting in contemporary art. Her work could be defined as conceptual painting, with elements of painting, sculpture, installation, and performance, which balances on the boundary of disciplines. Her work stems from the question; what is painting or what is the boundary of painting in contemporary art? Yuhwa held her solo show called ‘Painting as Object’, Cyart gallery in 2016. She also shortlisted for ‘Griffin Art Award’ and ‘WW Solo Award’ in 2013.
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Painting as Object

3D (Sculpture, Installa..

  • 2012
  • Oil on board
  • 120 * 110 (cm)
  • 2016
  • Oil, wax with found object
  • 21 * 16 (cm)
  • 2016
  • Oil, wax with found object
  • 21 * 16 (cm)
  • 2016
  • Oil, wax with found object
  • 21 * 17 (cm)
  • 2016
  • Oil on canvas
  • 70 * 140 * 4 (cm)
  • 2016
  • Oil on canvas
  • 70 * 140 * 4 (cm)
  • 2016
  • Oil on canvas
  • 70 * 140 * 4 (cm)
  • 2017
  • Oil on canvas
  • 7 * 7 * 5 (cm)
  • 2016
  • Oil with found object
  • 15 * 15 * 8 (cm)
  • 2016
  • Oil with found object
  • 15 * 15 * 8 (cm)
  • 2016
  • Oil with found object
  • 45 * 33 * 33 (cm)
  • 2016
  • Oil with found object
  • 45 * 33 * 33 (cm)

ARTIST'S STATEMENT

Image 1. ‘The body of something’, oil on board, 120*110 cm, 2012
- I placed a board in front of a radiator in a gallery space and painted the part of the radiator. It shows how painting interrupts space and object.

Image 2. ‘Sensation’, oil, wax with found object, 21*16 cm, 2016
Image 3. ‘Sensation’ (Detail 1)
Image 4. ‘Sensation’ (Detail 2)
- I filled a snack bag with black oil colour and wax to paint the inside of snack bag. After the oil and wax dried, I removed the bag and the snack bag’s shape left. ‘Sensation’ is originally the snack’s name.

Image 5. ‘Left side’, oil on canvas, 70*140*4 cm, 2016
Image 6. ‘Left side’ (Detail 1)
Image 7. ‘Left side’ (Detail 2)
- I cut the left side of canvas and painted the hinge with grey colour oil paints.

Image 8. ‘Flesh Tint Descending a Canvas’, oil on canvas, 7*7*5, 2017
- This is a study work of Duchamp’s ‘Nude Descending a Staircase, No.2’ in 1912.

Image 9. ‘Black and white’, oil with found object, 15*15*8 cm, 2016
Image 10. ‘Black and white’ (Detail)
- This is a painting of scouring pad(철수세미) on a plate.

Image 11. ‘Special make-up’, oil with found object, 45*33*33 cm, 2016
Image 12. ‘Special make-up’ (Detail)
- I painted yellow tapes on a box. This painting shows a pretending closed box.





Painting as Object


I am interested in the possibilities of painting in contemporary art. As a practitioner, myself, I have wondered how painting could be presented as a contemporary art form, in a time during which various art genres often manifest through the use of technology. I am currently researching to redefine the contemporary painting, and how it might be distinguished from, or related to, the concerns of the traditions of painting art historically.

My work is on a boundary within art disciplines such as sculpture, performance, and painting. The idea is to draw and paint conceptually everyday objects with painting materials in order to represent the painting as object. Thus, the work is pretending objects and deceiving eyes. When the viewer notice that it is art, not an object, this kind of work achieves their function as art.
Advice
Mina Cheon, Artist, Professor
Dear Yuhwa

I love your work. It is playful, thoughtful, and carefully worked out, as well as nicely staged. I think your paintings are definitely still paintings however, and that you are pushing the boundaries of what paintings can be today by addressing the issues of our expectation towards painting and the painting language. I wonder if you want to contest painting as object, or point to its theatricality, why you are not directly playing with critical theory and ideas that stem from Michael Fried’s “Art and Objecthood” originally written in 1967. I mention this essay to give you further insight on how you can play further with an already existing and established conflict between art and theatre, and present performativity of painting as object that can also be about object that performs painting. By that, which do you think is more relevant, performing object or performing painting? I think they say two different things, one to either mimic the objecthood versus the other mimicking or responding to the world of painting, either way, although both can be done simultaneously and will offer drama in both directions, there is a hierarchy between the worlds that you are referencing, between art and life, between painting and non-painting, etc. Also, installation, and site-specific installation has its own mechanism and strategy that you can further explore, please read Nick Kay’s Site-Specific Art, that can give you a range of specific terms and ideas related to use of space for installation and language that can be applied when you are performing your work (your object, your painting).

The extra information of each image (each art) is essential in understanding the full context of work so thank you for providing them and please continue to do so with your future work. It helps me establish an evaluation of not only how to read your work, such as in figuring the right “way in” but also how we can look at your body of work in sets, or groups, to identify what they are doing, how are they differently performative, how to define the difference of what you are doing with what I like to reorganize as “performative paintings.”
“The body of something,” “Left Side,” and “Special make-up” are three that belong together in using illusion of real space and object and simple gestures of painting and its formal language (canvas, line, color and such) to blend everyday objects (life) with art. The performative element here is that painting is used as a trick, playful disguise and illusion, as a trompe l’oeil. I would like to ask you to ponder, but why?


“Sensation” and “Black and White” are also a good pair of art objects, also work in similar conceptual terrain in that they are new objects created from existing objects but without the information of new context such as the one being the inside of sensation snack wrap or the other a painted scouring pad, we are left to wonder the identity of these very specific objects that you have extended its original identity to something else. The quality of mystery, and learning of the original state through its description makes them distinctively “pleasurable” pieces (kind of an odd thing to say I know), but between the two, I find Sensation’s overturn of identity, especially being the inside of the snack wrapper, to be more successful and compelling. And, the performativity here is the use of erasing (or hiding, forgetting) the object, why is the painting element important? Why are you painting over the scouring pad? Or are you just painting one, not clear.

“Flesh Tint Descending a Canvas” is quite a funny and successful piece and stands on its own very well. Everything from the title, humor, to the squirt amount of paint, tint, to art history reference, and the falling off the canvas – it is what is known as conceptually made or clear piece. Love it. The critique for such smart pieces are that for some, they can be one-liners, I think it has the potential to be much more than that, but how can you push a piece like this and give it more seriousness as deserved, keeping the conceptual affect light and simple? How many of these can you make as a series as the tint descends a canvas like staircase… as the original Duchamp piece was futurist, constructivist, modernist painting, what is it today, perhaps flesh on screen, of digital landscape?

Looking forward to the next series of work Yuhwa! Hope this helped, Sincerely Mina Cheon, your mentor
Yoo Geuntaek, Artist, Professor
손유화의 이른바 조각적회화들은 이른바 오브제와 페인팅과 퍼포먼스적인 관계들 사이를 오고가는 기묘한 지점이 있다.오브제에 유화물감으로 일종의 퍼포먼즈적인 제스춰를 가미함으로서 사실과 환영의 지점까지 모호한 경계를 만들어 가고 있다는점에서 사물에 어떤 섬득하기도 한 새로운 표정을 불어넣고 있는 것이다.
과연 이것을 회화로서 명명할수 있을까? 특히 계단에 놓인 신발하나를 그린/만들어 놓은" stroke"는 그 상황자체에서 이미 풍부한 네러티브를 생성시키면서,
퍼포먼스에 가까운 작업이라 할수 있는 신발에 구체적으로 어떻게 페인팅을 가미했는지는 알수없으나 부분적인 유화페인팅의 제스춰들을 통하여 이 상황에 작가의 철저한 전략적인 지점으로 이끌고 있는 지점은 매우 흥미로 지점이라고 생각한다. 또한 "titanium white 378g" 도 이러한 점에서 흥미롭게 생각한다.
도브비누 상자를 열어놓은듯한 이 작품은 예기치않게
사물에 대한 관념을 그의 제스춰로 인해 어떤 모호함과함께 사물의 틈새를 만들어 내고 있다는 생각이다.
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