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Sunday, 28 April 2013

Drawing the Dark Side in South Korea - Page 3

Written by Hannah Garrard
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H: This my observation, I wonder if you agree: I find your drawing very candid, you ‘ll draw things that maybe people will think but are maybe too scared to say out loud or turn into an image. 

 

B: I think everyone is suppressed to a certain extent. When I showed you my sketchbook earlier, I felt very nervous because it’s something very personal, but part of me feels like sod it, I don’t really care. I know people are thinking different things all the time, even if something you’ve written or drawn is a bit out there. I think most people are quite open-minded. It’s healthy to get some of that stuff out, and I don’t think that I’m a pest or deviant in any way. Sometimes my images contain a lot of nudity, or are a little bit abject. I like those things, but I don’t want to indulge in it all the time.

 

H: What, nudity? 

 

B: I quite like being naked, but it’s for the bath and bed and stuff.

 

H: I’m going to quote you on that.

 

B: (laughs) Clothes are just a bit dull, and boring. Clothes mask so much.  My old art teacher told me something which I thought was really interesting. He said that he liked the idea that anyone in the history of the human race, if they were photographed in exactly the same way, naked, and they’d never had any tattoos or anything like that, you’d never have any idea what time they were from, or very little idea of where in the world they were from. If you change yourself in that way you then lose the ability to be timeless. I think there is something nice about that. I think nudity is timeless.

 

H: Explain in your own words the ‘Wuju Dabang’ Exhibition.

 

B: All of the work produced was a reaction to Lee Pong’s piece of writing. She wrote a fictional story about a tearoom where the owner transports clients to different places in the universe. It’s soaked in disappointment. You don’t really know if she does go anywhere, and if she does, you don’t know where she goes. It’s all very ambiguous. She points at a photograph on the table and then the guy blows a smoke ring and she vanishes into it. It was so vague that you’re unsure whether it was a real porthole of time or just a seedy shop where people get lost in. But the reactions to the piece of work are quite different, and Hong Ji Yoon’s reaction to it was quite literal. She goes straight to the scene where she’s being transported through the hole. Oh Suk Kuhn puts more of himself into his work-  he likes to draw people on the fringes of society.

(Page 3 of 5)
Last modified on Tuesday, 30 April 2013

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