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PAINTER: Kyu Nam, Han

After observing Kyu Nam Han's paintings in his Gallery on the east coast of the United States, I realized that Han is a painter who should be rewarded by having his half-century of works recognized for their contribution to Modern Art History.

Han applies basic cubist principles to Korean art.
  
He creates a series of painting with acrylic or oil, which describe the Asian landscape in a mystical manner. The subjects he chooses simultaneously represent both Western and Eastern feeling, by combining dots and delicate, but strong, brush strokes to express his fundamental art philosophy.

Han researched Nietzsche and Husserl's world. His works have also been influenced by Fao-San Bo, and inspired by Guo Xi's work, but Han appears to struggle with the techniques of Su Shih, Mondrian, and Cezanne. Han's brush strokes appear to have been inspired by Kindansky, Gorky, and Pollock. After struggling to master the techniques of both traditional Eastern and Western art, Han at first tried, and then finally accomplished the creation of his own style of painting in the "Synthesis Opposite".

Han uses a grid and a surface marked with the thick layers of color to create the rhythm of his painting. His contrast of color strikes an auditory note, and seems to ring with the sound of instruments on the canvas, while at the same time transmitting a strong visual note.

Han says his paintings present a "visual image that goes through complex mental and physical efforts to reach from painting to painting." Han's most recent work, New York Scene, a series of paintings with mystic gray and blue colors beneath, emphasized with yellow and red-black pointed matched brush strokes. The images captured from street scenes, i.e., cars and the landscape, depicts Han's principle theory, " A Synthesis of Opposites: The Origin of the Theory - Classical Deconstruction and Reconstruction.
  
A canvas covered with dynamic brush movement, this painting penetrates his soul as it goes through 'passages,' such as Cubism.

Han's subjects convey abstracted Western colors and brush strokes combined original Eastern art. Atop the underlying layers of paint, Han applies dots and line, but all the lines disappear when the paintings are finished. Han says that "the dot fuses and becomes a part of the organizational, numerical scheme, as well as allowing another interpretation. The dot become a figure and extends the ambiguity of paradoxical image," in addition to explaining its timeless relation to everything that he has gone through in his lifetime.

Han's painting suggest the notion of Heidegger's "Presence - a meaning of being," at the same time relating to Husserl's "transcendental consciousness." Personally, I am convinced that Han's painting will eventually gain him recognition as one of the most important painters in Modern Art.

Arts Day Gallery Staff Writer

Kyu Nam, Han

Born in Incheon, Korea

    • 1974 - 77 The Ohio state University: M.F.A. in Painting

    • 1972 - 74 The Ohio State University: Department of theater: State design

    • 1974 - 77 The Ohio state University: M.F.A. in Painting

    • 1972 - 74 The Ohio State University: Department of theater: State design

    • 1978 - 79 Joe Brown Sculpture Studio: Rocky Hill New Jersey

    • 1967 Seoul National University: B.F.A in Painting

    • Selected Solo Exhibitions

      • 1998 Blue Hill Cultural Center, Pearl River, NY

      • 1998 Ellen Kim Murphy Gallery, Santa Monica, CA

      • 1998 Ellen Kim Murphy Gallery, Seoul, Korea

      • 1998 Old Church Cultural Center, Demarest, NJ

      • 1996 MI Galler, Seoul, Korea

      • 1995 Hong Kong International Art Exposition, Hong Kong

      • 1995 Walker Hill Art Center, Seoul, Korea

      • 1992 Yuna Gallery, Seoul, Korea

      • 1991 Sun Gallery, Seoul, Korea

      • 1990 Azart Gallery, Seattle, WA

      • 1988 Sun Gallery, Seoul, Korea

      • 1977 Hopkins Hall, Ohio State University, Columbus, OH


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