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Chung, Eui-boo

 

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Chung Eui-boo's An Illusory and

Romantic Landscape



Written by Park, Young-sook / Art Critic


Recently, we often witness a number of painters who makes a sketch excursion ti the mountain. It becomes more common in culturally advanced nations as a reaction abstract art in which it's increasingly hard to find any artistic satisfaction to fulfill our basic instinct. Today's human civilization becomes possible at expense of nature but paradoxically, we are now seeking the salvation of nature. A landscape, in terms of technique and aesthetic, grows more diverse and profound due to such trend.   To my joy, Chung Eui-boo also attains such level of landscape painting.
Generally speaking, the term landscape painting has its origin in Western painting. We also have our own landscape picture, which is distinctively called a mountain-and-water drawing. Ours is quite different from a Western landscape in its color, but remains same with it in its approach to nature. Chung Eui-boo, I think, knows it better than anyone else in that his picture


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demonstrates a distinctive color scheme and unrestricted spatial arrangement.


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  It is assumed that all types of landscape painting were originated from the notion of &quot;paradise&quot; which we have long since sought to discover. The word &quot;paradise&quot;is known to have a Farsi origin. It first appeared in the 12th century China ahead of the West. A longing for paradise also made the 18th century's European romanticist artists be engrossed in landscape.
The British art critic K.Clark defined an outstanding landscape painting is the one that makes the viewer mistake they are in a real landscape. It means a landscape is an art genre that makes people feel an impulse to rush into it. As Choi Buk, one of Joseon's painters in the 18th century felt an impulse to suicide while sketching Mt. Keumgang, we also feel such impulse when we view Chung's landscapes. His landscape work appears so seductive to the viewers in its color and space, evoking an illusory effect.
Immanuel Kant once alluded to the following: &quot;Nature is nothing but an enlarged human nude.


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If one assimilates into nature, he must have a capability to look at her with an eye of childlike purity rather than avarice.&quot; A good ladnscape is the one in which the subject and the object become nearly one, narrowing their gaps by the use of color and pigment. As our body is a reduction of nature, we have an ability to identify ourselves with nature in order to render an outstanding landscape.


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Such is nat a thoroughly new approach in Oriental painting in which paper and ink are utilized, instead of oil in Western painting. Chung Eui-boo through his oil painting attempts to come true Oriental aesthetic by uniquely quoting the beauty of subtlety from a mountain-and-water picture. The artist Ahn Young-mok at his catalogue essay point out it as follows: In a recent few years Chung has often employed achromatic colors for his oil painting. Refrain from various natural hues, his work is suggestive of a Korean-style mountain-and water drawing using an achromatic color. I regard his picture as a remarkable attempt to inspire a distinctively Korean atmosphere.


As Ahn pointed out properly, Chung interprets the beauty of subtlety in a contemporary way, whereas Korean painter attains it with the use of blank space and blotting effect. He also strategically adopts backlighting to make his work coincide with the taste of contemporary people. Backlighting is immensely effective in giving an illusory feeling and marking clarity something obscure. Such effect of backlighting quite naturally diminishes the reality of his painting by getting rid of the shadow of objects.
It is as if his painting strives to comment on the fact that paradise no longer exists in the three-dimensional reality. His painting gradually becomes two-dimensional by removing the shadow. Chung proclaims his attachment to two dimensionality is an attempt to become a seeker of beauty and leads his illusion to the world of silence.
  A dominant shade of gray on his canvas is a strong message suggestive of silence. His achromatic color scheme is in no way light-hearted. His color, in term of texture, surely has the mass.
As widely known to all, something primitive played an igniting role in starting the new. For example, African Primitive Art, affecting Europe's Classicism, dedicated to creating experimental works in later art history. Chung's color scheme employing heavy and strong impasto indicates, in a broad sense, he is following a tendency of contemporary art. Refrain from clinging to so-called &quot;Paradise Complex&quot; he strategically adopts his color and, thereby leads our sensibilities to an enhanced state.


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Association
* Served as a jury for National Sketch Competition of Korea
* Served as a part-time teacher for Yoido High School, Kyungbok High School,
Kyunghee University and Kyungwon University
* Served as a the first director of Songpa Fine Arts Association
* Served as a the director of Hyundai Sketch Group

Present
* Advisor of Hyundai Sketch Group, Songpa Fine Arts Association
* Member of Korean Fine Arts Association, Sanghyung Artists Group
INSEA and Asian Art Friendship Group
* Part-time Instructor of Shinsegye Culture Cente

 


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* È«ÀÍ´ëÇб³ ´ëÇпø ȸȭ°ú Á¹¾÷(¹Ì¼úÇÐ ¼®»ç)
* °³ÀÎÀü 13ȸ(±¹³» 9ȸ, ±¹¿Ü4ȸ)
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http://on-canvas.com
E-mail:euiboo@korea.com

 

* Conferred a MFA by Hong-Ik University Graduate School of Fine Arts
* 11Times Solo Exhibition
* Severed as Director of International Association for Art Education for and Research
* Participated INSEA General Meeting and International seminar on art education
* Sketch tour to Southeast Asian countries, America, Tahiti, New Zealand,
Pacific-rim countries
* Awarded at the 25th and 26th National Art Exhibition of Korea
* Served as a planning committee member for Korean Fine Arts Association
* Many times Group Exhibition