Interview : Thank you for joining us today. First, let’s talk about your artwork. Can you explain how you focus on the relationship between yourself and the subject of your work when you create it?
PYG: When I create a piece of art, I always keep in mind the connection between myself and the subject. In the first painting I tried to express the flexibility of the willows, in the second I focused on the sound of a flowing stream, and in the third I wanted to feel the continuity of the rain that falls.
Interview : Could you elaborate on how this connection between yourself and the subject is reflected in your work?
PYG: If you concentrate deeply on the three pictures, you and the subject will have a very magnet-like attraction to each other, and that attraction will be applied through color and co-division.
Interview : You mentioned the hanji paper used in your works. Why did you choose this type of paper, and what are its main characteristics?
PYG: The paper I used in my three works is hanji, which is made of the bark of the oak tree as the main material, and the main characteristic of hanji is the unique charm of expressing the clarity and smearing of colors when painting without overcoat, which is why I chose hanji.
Interview: Could you provide a detailed description of the type of paper used and the reasons behind choosing Hanji paper?
PYG: Hanji paper is a traditional Korean paper made using the bark of the Daeak tree and can be preserved for millennia. It is highly conducive to ink spreading and can be selectively used for desired expressions. Furthermore, I also enjoy drawing on canvas fabric.”
Interview : You mentioned using dark blue and dark bronze colors in your works. Can you explain how you chose these colors and how you applied them to convey the attraction to the subject?
PYG: I used dark blue and dark bronze colors, and expressed a strong and deep attraction with the subject through hanji and watercolor.
Interview : Could you share your painting process with us? How do you translate this connection into artworks?
PYG: When I’m painting, for example, I basically paint blue, then repaint with a darker color, use a spray light to keep the continuous coloring before the color dries, and finish it when I get the feeling I want. And when the attraction between the subject and me deepens through concentration, it is well expressed with a brushstroke by smearing with color.
Interview :Your works seem to convey a profound message about the relationship between humanity and nature. Could you expand on this message?
PYG: Through these two works, the artist has the will to show that human beings are also a part of nature and that with our technological advances, human beings are trying to develop in space.
Interview :What is your fundamental view of nature, and why do you consider it important to protect it?
PYG: The basic meaning of nature is as follows. Nature means it is, human beings are part of nature, and all living things are nature. Observing natural phenomena creates many new impressions.Nature must be protected and preserved. The destruction of the natural environment is an organic relationship that eventually makes it difficult for humans to live.
Interview : You mentioned the influence of Gyeomje Jeongseon’s art. How has this artist influenced your work?
PYG: It can be seen that folk paintings and orthodox paintings overlap in the same kind, but there is a difference between orthodox paintings with a wreath on sentimental painting and folk painting with a wreath on practical symbolism. I think he was influenced by the In-wangjaesaegdo of Gyeomje Jeong-seon, which he liked when he was a kid
Interview : Can you explain what you mean by the terminology you use here?
PYG: Absolutely. When referring to “the art of landscape painter Gyeomje Jeong seon
especially the color of In-wangjaesaegdo”, I am referring to the work and painting style of the famous Korean landscape painter Gyeomje Jeong seon, who was active in the 18th century. He is known for his depictions of Korea’s natural landscapes. In-wangjaesaegdo ” can be understood as the title of one of his works, or as referring to a particular color or pattern that the landscape painter Gyeomje. Everything else is fine. used in a particular work. In referring to this term, I wanted to emphasize the influence of the colors and styles used by landscape painter Gyeomje
Everything else is fine. You’ve done a good job.on color choice and artistic perspective in creating my work
Interview by Barbara Trevisan
2023/09/02