Introducing Korean Contemporary Art

Korean Contemporary Art has received notice as an important contemporary art movement, reintroducing itself as a realigned artist community who incorporates centuries of tradition into a diverse offering of ceramics and painting. Proudly, the Mindy Solomon Gallery represents talented South Korean artists—Sungyee Kim, Kang Hyo Lee, SunKoo Yuh (L) and Wookjae Maeng (R)—since the beginning.

Recently, we have expanded our Korean Art Program to include two distinguished ceramic artists from South Korea—In-Chin Lee and Ree Soo-Jong. In-Chin Lee’s work has been described by Yoo-Jae-gil, (Hong lk University Professor of Art Criticism), “The swelling forms of his jars and the rich colors of their surfaces particularly expose this unending depth.” (In-Chin Lee, above).

Ree Soo Jong begins his process by manually kneading soil into dynamic forms that reveal a raw and unprepared surface, thus preserving the natural look and feel of each piece. Both artists have been featured in galleries around the world and are often referred to as leaders in the ceramics art world. (Ree Soo Jong, above).

We look forward to introducing you to the inspirational works of In-Chin Lee (L) and Ree Soo-Jong (R) and happy to introduce you to a complete selection of works by our Korean artists.

The Mindy Solomon Gallery will be presenting “Meditative Journeys” featuring Sungyee Kim (L) and Lee Kang Hyo (R), FEB 25—MAR 31; Art Fairs: SCOPE NY, SOFA NY, artMRKT San Francisco featuring a diverse grouping of national and international artists; and we are consistently exploring traditional and progressive contemporary art forms.

We look forward to seeing you in the gallery. Please contact us for one-on-one consultation and learn more about our contemporary art program.

Lee Kang Hyo’s New Works

Korean artist, Lee Kang Hyo will be presenting a large collection of Bun-cheong ceramics in “Meditative Journeys.” The Bun-cheong style of ceramic making is an ancient tradition characterized by a loose and informal application of white clay used by Korean commoners and royalty back in the day—918-1392AD.

We have recently posted 54 new masterful works by Kang Hyo Lee in preparation for his wonderful exhibition, also featuring Sungyee Kim. Please visit Kang Hyo Lee’s recent collection. If you have any questions or acquire for your collection please contact the gallery. “Meditative Journeys” on exhibit February 25 through March 31, 2012.

Meditative Journeys February 25—March 31

“Meditative Journeys” presents the devotional works of two Korean artists, Sungyee Kim and Lee Kang Hyo (above), on February 25 through March 31.

Korean Contemporary Art has become something of a recent phenomenon in the western art world, reintroducing itself as a redefined artist community who celebrates ancient tradition while transforming notions of the past into international, innovative and modern works. Bold color accents natural materials while presenting “new” iconography with deep introspection and spiritual implications. Much of the Korean aesthetic lies in the subtle detail while maintaining elegant simplicity. (Above, Sungyee Kim).

Sungyee Kim creates densely layered paintings that incorporate the principles of I Ching with the Taoistic pursuit of becoming one with material. Sungyee shares, “A painting’s artificial, two-dimensional surface requires pure belief in spiritual values. It opens a door to the ideal. Nature is not comprehensible. Neither is a good artwork, because it resembles nature.”

“The incomprehensiveness of nature is the reason why all questions and communications start. We do not have any plausible answer to what life is, but we cannot stop thinking and talking about it. A good artwork can only show the endeavor to reach the answer.”

Lee Kang Hyo masterfully works in the tradition of Bun-cheong ceramics, characterized by a loose and informal application of white clay that replaced the Celadon, (Chong-Ja—the stuff of kings), ended by the Mongol Invasions in 1231 AD.

Lee Kang Hyo’s work infuses ancient tradition with whimsical and contemporary interpretation. Bun-cheong was created during the Koryo Dynasty (918-1392AD) and was commonly used by the aristocracy and commoners of Korea. The decorative style of Bun-cheong was created by stamping patterns or etching into the surface of the unfired clay and then covered with a white slip. The slip was either dipped in a tray or hand painted in a rough, hurried fashion with no consideration for precise detail.