To Solve Myth of Nature

Painter Chung searches for nature of realities and images through seas in his artwork

Painter Chung Young-han's work on seas innately includes wrong ideas of modern people on nature: They show the relations of realities and images from those realities, especially how realities were delivered to form images. Images always are in ideals, and real scenes don't exist. Images created from realities give births to other images and these images produce other images. As such images create a series of pure images, through the indifferent process from realities, altogether different from realities.
Painter Chung's painting of seas have a red rose copied from a digital copier, floating in a realistic image above the sea far away where such flower can't be imagined to exist and therefore untouchable with hands.
Painter Chung effectively conveys the relations of conveyed images and realities without the help of a medium through purely a painting process and his work are done in a realistic manner, with a strong persuasive power.
His realistic descriptions take revival-like approaches,
but at the same time, they are denude of the approaches. During the process, the painter introduces a trick, which is similar to the method of super-realist painting, said art critic Kho Chung-hwan. But the trick doesn't take the form of fancy or other non-realistic objects, but extremely realistic objects like flowers and people to show modern people's lives and customs.
Consequently, his paintings of sea are about the sea far away overlapping with a flower copied located nearby to show a new image different from realities.
Most of his latest paintings of sea doesn't have any objects except a wide open and empty sea image. Some times, they show waters hitting sands on beaches and some times, skies above with clouds. Many times, the whole canvasses are filled with sea waters and horizons. The seas in his work look untouchable and giving an impression that the sea moves away over the horizons
Such an empty sea seems pristine and primitive as if the viewers can see in its original form before it is named the sea.
The invisible sea means that our awareness cannot reach the sea. The disappearing sea means that the awareness also disappears with it over the horizon. Therefore, the horizon is the divide for this and that side of the image. The awareness for the divide makes the sea to be a symbol. This evokes the romanticists that cannot endure the violence of time of their pride and lets them agree with the vision of the super-realists lined up with the unknown things far away.
With the sea taking back steps withdrawing its rejection of the awareness of invasion so that the viewers can see the whole sea, stimulating the awareness.
The painter, a graduate of the Department of the Western Painting, College of Arts, Chungang University in Seoul, also earned the master's degree in art at Graduate School, Chungang University. He also studies the doctor's course of fine arts, Graduate School, Hongik University in Seoul.
He held many solo and group exhibitions both at home and overseas so far in his career as a painter. His first solo exhibition took place at Doll Art Town Gallery, Seoul, in 1996 and the latest one at Gallery Wooduk in Seoul. He also participated in the 12th Contemporary Art of Japan and Korea, Ono Gallery, Tokyo, Japan in 2006 and the 9th Asian Art Biennale Bangladesh 1999, Bangladesh Shilpakala Academy, Bangladesh. nw

Myth of Our Time: 162.1x112 cm; Oil on Canvass; 2006

Myth of Our Time: 162.1x97cm; Oil on Canvass; 2007

Myth of Our Time: 162.1x 97 cm; Oil on Canvass; 2007