Fine-art

MoonJin Kim

As globalization seeks to envelope the world in single global culture, concern over the loss of national and personal identity is mounting. Artists who choose to represent their rational identity, whether by choice or by economic necessity, often struggle against the prevailing prejudice that work dealing with identity politics delivers issues and content often to the detriment of form and aesthetics. Objects or words arise from our own learned culture, associations and personal objections. The real power is not contained within the object, but within our perception of it.

The language and forms of the ‘Fine Arts,’ from the ancient to the post^2 modernists, have attempted to express their own particular concerns, ideas, philosophies and culture. Each form of type of art may be distinctly different and yet still contain this common ground. The individuality of artwork may come from the combination of many elements of techniques. It is through artist perceptions and exploration of inner selves that the cultures while viewed through the lenses of an ever-changing surrounding, which is at the root of fine art.

The entire information gather is utilized as we continually exercise our most primary needs. We subconsciously and sometimes consciously, set about to determine how things function and most importantly for us, where and how we fit within our environment. The environmental elements are to be appreciated and incorporated into the work and should not be framed out or simply denied. Life is a collage of senses, mind and ‘soul’; any attempts to try to constrain or limit a way of seeing or feeling through a formal approach will be limited from the outset.

The language, media and approaches used in the production of art, have and must remain open. As the language of culture, art moves not independently but with the times. Through it, artists attempt to synthesize and preserve (movement and memories). It has the potential to take the seemingly insufficient to the level of the profound and beautiful. It can push our tolerance and understanding, as it probes at and within the culture.

Art taps potential to create more from our individual environments than simply functional and utilitarian space. While still addressing a space‘s particular nature and function, there is an opportunity to express and examine what spaces do, shouldn’t or how they affect us. Environments have natures and characters, which are not neutral and do not go unnoticed. However we may attempt to deny it, art is never perceived separate from its surroundings.

Everything from garbage to money, my goal is to amplify our awareness of ourselves in our environments, and our human behaviour. My question of value, appreciation and beauty are often explored through contrast and context. Within each artistic language or style, lies a complex coding of association and references. Languages have and are confirmed by both strengths and limitations. This show is reflective on study of visual reactions to an environment.

Artist statement:

Artwork incorporates elements of both oil-painting and some sculpture aspects. I have explored how forms contribute to the aesthetic impact of my work and how this transforms and relates to painted imagery upon the surfaces. In order to make fluid and non-linear geometric shapes, I needed to physically create a basic frame. The wooden materials were used to make a basic frame, which were then covered with pre-gassed and painted canvas. I considered making frames of desire shape as sculptural aspects.While I build the form; I consider the location of imagery that going to be painted. Therefore, I am considering the initial relationship between figures and form, and how they relate with one another. It is the interest of time, space, and environment and how the individual moves within this, which led me to document people in everyday situations and their surroundings. The process becomes a documentation of the human condition and behaviour in the western post^2 society. In some of the series of the work, I bring human figures out of the ordinary content and contrast them with other elements, others just observations of particular neighbourhoods and time. The contrasts of content are important for this exhibition. Original intentions are to dynamically and intimately engage the viewer within each piece so that it is
viewed from various vantage points, with a constantly changing experience from one angle to another. The viewer could experience and able to understand the artist narrative concerns that shown in visual elements.