Born and based in Seoul, Kwon Ki-soo works in a wide range of media, including painting, sculpture and video. He is primarily known for his creation of Dongguri, a character that frequently appears in his work. Although human-shaped, Dongurri is an icon formed by certain marks and symbols; a by-product of modernisation in which everything is symbolised, simplified, and mechanical. Dongguri has gained wide appeal because it appeals to a younger generation that readily consumes and reproduces popular culture. He has continuously created innovative designs, marrying ultra-modern elements with old traditions.

The artist's favourite motifs, such as plum blossoms, orchids, chrysanthemum and bamboo are drawn from traditional sumi painting. Each represents one of the four seasons: plum blossom for spring, orchid for summer, chrysanthemum for autumn and bamboo for winter. Rather than copying nature, sansui painters use form and technique to express their own concept of it. For them, the transcendent values of nature and the universe are not to be conquered but are an innate attitude, the order and reason of which should be studied and followed. Sansui painters express transcendent values by forgoing a visual imitation of what is seen as reality, seeking meanings in the unseen world. Sanshui is, therefore, more than a technique; it is a symbol, a paradigm and a fundamental concept.

Through his work, Kwon Ki-soo continually explores traditional themes and values, which he adapts and incorporates into contemporary art forms. His art is characterized by a creative grafting of past spiritualism onto contemporary materialism, moulded into symbols and icons. Through multiple layers of symbolism and meaning, Kwon offers viewers a playful interpretation of a world where lightness and heaviness can coexist.

(Text by Kim Sun-hee, Art Director of Zendai Himalayas Center, Shanghai)

After the Modern
Talents Keep Emerging in Korean Contemporary Art Scene

The Korean art scene is blossoming in recent years, thanks to their persistency in the pursuit of art. This persistent spirit is also highly visible in the Korean economy, culture, politics and religion. The wave of contemporary art had its seeds planted as far back as the early 70s, by the pioneers of Korean art which include Kim Tschang-yeul who was born in 1929; the Father of Video Art, Nam June Paik, born in 1932 and just passed away in 2006, Park Seo-Bo, born in 1931, representing the Minimalist forces. As fast-paced as Western art, the most crucial success factor lies in the richness of local culture in the center of creation. The artists verify and show the recognition toward their country through their arts.

Young Korean artists dare to experiment in unconventional ways for exciting art works. There seems to be an unconditional support from the Korean society. The encouragement from the corporations and cultural organizations and formed the base for a brilliant contemporary art scene. For example, the Samsung Museum of Art was found in 1965 by a fund organization with Samsung as one of its members. This organization protects Korean cultural heritages and supports modern and contemporary art development. With abundant support, the youth art-enthusiasts are more conident to pursue their interest all the way. Although Korean modern and contemporary art has successfully connected with the Western world, they have never lost the mastery of the skill. Korean artists search for creative ideas from individual or common background, history and culture, and create works based on years of training from art schools. Take "Ecriture No. 040929" from Park Seo Bo as an example. It is one of the works from the "Ecriture" series created in the 80s. The duplication of the lines against mono-colored background silhouettes the style of Minimalist, "one after another". The subtle and exquisite variations of lines are created by repeated motion of the hand using pencils. In this two dimensional space, we can clearly feel that the artist was almost in a trance when he was creating the art. His silent, delicate and poetic lines on traditional Korean mulberry paper bring forward a religious dimension. The religious and healing effect was focused in "Park Seo-Bo Retrospective Exhibition 2007" at Arario Gallery. Concentrated in the repeated motion, Park Seo-Bo's works can eliminate worries and unhappiness.

Living in France, the celebrity artist, Kim Tschang-yeul is one of the most inluential Korean artists in Europe and America. The words on the canvas pass through time and generations like confusing poems. The restrained forms of word are the traces of traditional thinking; water drops are the natural element for the canvas. Dripping droplets signify the pureness and the liveliness of Oriental philosophy. The idea of "Returning" to the origin of all philosophies with a humble mind is presented in his work, Recurrence.

Choi So-Young's innovation in the art media is one of the best among Korean contemporary artists. The venture for new media emerged from an emotional attachment but not from the desire to stand out. Choi So- Young chose denim jeans instead of brushes to paint the images from her childhood's memory. The young Choi So-Young used to pass through the slums on the way to school. The familiar old buildings and the run-down streets relected a beauty of kindness under sunlight. The artist uses jeans to express her feeling because she wore old jeans from her elder sister when she was young. Same as the old scenes, jeans symbolize her love for her family love and her roots. The faded jean also stands for the changes of life and wearied people. "Gaya" is the painting created under this stage of mind and bears a sculpturesque texture.

Lee Yong Deok's negative sculptures usually feature boys and girls in simple and ordinary positions. Presented with a raw uninished surface, they are sleek and simple. The artist's outstanding intaglio works of reality and illusion invite the audience to explore the goal and the meaning of art. Apart from being beautiful, there is also a human side to it. When the audiences look at the sculpture, it looks back at them in the same way. There is an exchange of emotion and the existence, for both parties are veriied. The figures created by Lee Yong Deok do not only look like humans, they are also curious and sympathetic, just like you and me.

The creator of "Dongguri", Kwon Ki-soo is influenced by American animation. It is said that the niftiness of the character is very similar to the artist herself. This character brings happiness to the distressed Korean society. In this new wave of Korean animation art, "Red Forest" and "A House in the Black Forest -2" exhibit a natural and plain symbol against the typical colorful backdrop. "Some people say that my works are very light and popular, but I don't think so. Although I use contemporary art methods and materials, and my works look like very sample and naive, I want to convey a deeper level of classical meaning. The black background is originally from the traditional East Asia's ink art. The round shape is from the "Four Plants of Honor" in ancient Chinese culture, representing all the beautiful things in the world. Dongguri is actually a symbol signifying a stage of silent meditation." Kwon Ki-soo further explained that the simpler the work, the more complicated the thinking process. The artist adopts a vision of the universe understandable by children but refuses to accept the commercial label of "carefree". This way of creating art resembles the traditional Korean artists.