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Back Shane Guffogg: Part 5, The Life of the Artist and the Creative Process: "Certainty and Truth" SHANE GUFFOGG: PART 5, THE LIFE OF THE ARTIST AND THE CREATIVE PROCESS: "CERTAINTY AND TRUTH" A segment from the studio manager (Victoria Chapman) on Shane’s creative life in the studio, and at the ranch The beginning layers of a new Still Point for Venice 2024 The Life of the Artist and the Creative Process – Part 5 Certainty and Truth A segment from the studio manager (Victoria Chapman) on Shane’s creative life in the studio, and at the ranch In Part 5, we are sharing Shane’s daily routine and how one thought leads to the next and, yes, there is some certainty and truth here. I have heard visitors to the studio say on many occasions, “Shane, this is amazing, things just seem to line up for you.” How does this unfold? As the observer in the room, I can honestly say, it’s not as easy as it may appear. Sure, there is a certain amount of luck, but the reality is there are no shortcuts. Shane works everyday all day, and he doesn’t take holidays. It’s like water that flows from one stream to the next-- it’s automatic for him. Whether he is in his orchard or vineyard tending to the fruit trees, remodeling a building (he is currently creating the “wine room” with two childhood friends), or applying the first layer of gesso to canvas, he is merely being in the moment. Somehow along the way of Shane’s early beginnings, this ability to stay in the moment took shape. And now it’s automatic. Whatever he touches, be it breakfast, a grapevine, or the brush to which he is about to create art, there is a certain consciousness that becomes absolute with all his heart, and in return the universe responds. Sometimes the circle is complete, an exhibition is booked, or a painting is sold. With total transparency, there is honesty that goes into a task. When I come across quotes from Hegel’s Phenomenology of the Spirit , it stops me in my tracks to reflect on what is going on in Shane’s life, and studio practice. Inside the Central California studio Looking out the studio window “In grasping the thought that the single individual consciousness is in itself - Absolute Essence, consciousness has returned into itself. Phenomenology of the Spirit page 139 If you have been following this series, you know I am thumbing through Hegel’s Phenomenology of the Spirit . Hegel’s book explores the principles of self-identity and reaches into the dialectic. I will not go into that, but I will share why I keep returning to this book. For me, it has been a proverbial jumping-off place. It is a reminder of why art is made and its process. And then there is the creative flow, which I believe is another intertwined topic. A few days ago, I was reminded of a conversation I had thirty-three years ago with a fellow art student, “How can I make art when I have barely experienced the world myself?” That was a wild thought, and it got me thinking about Shane and his life experiences as it’s translated into art. There have been two films and podcast that have been published about Shane’s studio and ranch life. Some might ask, how does Shane divide his time? What are his daily rituals, shifting from one task or painting to the next. There is minimal separation – separated only by what he touches. How does the physicality of being become the impetus of art making? Creativity is an alchemic process of transforming truth into evidence. We can see it from the beginning in cave paintings, and for thousands of years, this has been observed from stone to iron and now into the information age. Shane wrote an article that touches on this subject, The Art of the Ancients Art Confidential Magazine, April 2023 Notes on the studio wall Shane’s article, The Art of the Ancients In progress .. for 2024 Venice Biennale Artists have always contemplated the landscape. Whether this means tagging the wall or making mental notes, it’s the human condition to observe and document one’s findings. Cezanne spent years painting Mount St. Victore, observing nature, living in solitude, and searching for inner freedom. This practice of recording the world around him created some of the most unique works of art, setting the stage for the 20th century, starting with Picasso, which all began by honoring his truth. As I sit at my desk daily in Los Angeles, I contemplate why art is so important and what it does on an immediate level and for society. I take a break and walk over to another painting studio of Shane’s and gasp while looking at the vast Conscious Occupation of a Praying Mind a painting from the series, At Still Point of the Turning World. As I leave that studio and walk over to collect the mail, I am reminded of the street sounds and the thousands of cars and people trailing up and down Western Ave. daily. Returning to my desk, I glance over to the storage racks in the office, patiently holding Shane’s paintings. The office has become an art storage space as much as an office space. To my left are floor-to-ceiling bookshelves stacked with binders, catalogs, magazine boxes, and numerous books - all relative to Shane and his career on a global level. This man’s markings, documentation, and commitment to his art-making practice serve as a reminder of why art should never be forgotten or misunderstood. It’s been a hectic year thus far while finalizing plans for the 2024 Venice Biennale (Shane’s exhibition will be on display at the Bovolo Museum). There was also a new record set at a Parisian auction for At the Still Point of the Turning World – Only Through Time is Time Conquered oil on canvas, plus various exhibitions, musical concerts that intertwine music and art, and many lectures about the topic of art and how Guffogg is informed and inspired by different composers, that took place in and around Los Angeles. Two of Shane’s paintings are in the group exhibition Circle of Sam at the Bakersfield Museum of Art, where his paintings are featured alongside Ed Ruscha, Sam Francis, and more. This exhibition honors Sam's friendships with fellow artists; it closes on September 9th. Opening on October 19th, 2023, at the Forest Lawn Museum, Glendale, is Shaping Gravity: Abstract Art Beyond the Picture Plane, featuring seven artists. Shane will have six significant works that span 21 years. The Bovolo Museum, Venice, Italy where twenty new paintings will be on display from April - November 2024 Venice Biennale Guffogg’s At the Still Point of the Turning World - Only Through Time is Time Conquered oil on canvas, 84 x 108” a record was set at Paris auction ($480,000 USD) on May 4, 2023 Guffogg’s At the Still Point of a Turning World - The Conscious Occupation of a Praying Mind oil on canvas, 78 x 108” will be featured in October 2023 exhibition Shaping Gravity: Abstract Art Beyond the Picture Plane Los Angeles An intimate corner in the Central California Studio, in process paintings Neither Flesh nor Fleshness a stanza from T. S. Eliot’s Four Quartets to be featured in Venice during 2024 While supporting Shane’s endeavors, I observe him traveling back and forth from Los Angeles and Central California studios with the occasional business trip to Europe. I often wonder, “Where does Shane get his inspiration, and how does he start his day?” Shane, the tornado, as he sometimes refers to himself, is busily noticing all the tiny and minute, numerous layers around him, seeing and feeling his way around the landscape. Within 12 hours on any given day, Shane not only works on his latest paintings (he usually works on 5 to 7 at a time), but also farming and tending to his Cabernet Sauvignon vineyard, olive trees (yes, he is pressing his olive oil), and 100 plus assorted fruit trees. Shane is moving through time and space. If you could trace his patterns throughout the painting studio and working the earth, one might see a similar physicality and energy that permeates from his surroundings. Cabernet Sauvignon grapevine at the ranch/studio in Central California. Shane personally planted 350 vines. During Part 5 of this series, Shane has been too busy for our usual Q and A and he suggested sharing two videos made by Eric Minh Swenson, Part 1 and Part 2 filmed at the ranch, two years apart. These videos go into detail about Shane’s life and what he was and is planning. And to refer again to Hegel -- while becoming conscious and aware of the world, Shane acknowledges his thoughts, visualizing beauty and the positive wonders of the world. All these elements are the ingredients for his daily practice of art making and life. Victoria Chapman Studio Manager Guffogg Studio Los Angeles The progress today of the big painting for Venice (first image in this newsletter) Tags: #shaneguffogg , #victoriachapman , #thelifeoftheartistandthecreativeprocess , #part5 , #studiolife , #certainity , #truth [Source from VC Projects press release] www.vcprojects.art SHANE GUFFOGG: PART 5, THE LIFE OF THE ARTIST AND THE CREATIVE PROCESS: "CERTAINTY AND TRUTH" — VC PROJECTS A segment from the studio manager (Victoria Chapman) on Shane’s creative life in the studio, and at the ranch < >

Back KIM KANG YONG: SOLD OUT at KIAF 2024 The 23rd edition of Korea's largest art fair, Kiaf SEOUL 2024, kicked off with a grand opening ceremony on the 4th, running until the 8th for a total of five days. On the opening day, it held a joint opening ceremony with Frieze Seoul. Collectors flocked to see Kim Kang Yong from The Columns Gallery, widely known to the public as a brick artist, leading to the complete sell-out of his works featuring vibrant colors. 올해로 23회를 맞이한 국내 최대 아트페어 Kiaf SEOUL 2024(이하 키아프)가 4일 개막식을 시작으로 화려하게 막을 열었다. 8일까지 5일간 진행되는 키아프는 개막일 오전 프리즈 서울 (Freize Seoul)과 공동 개막식을 진행했다. 대중들에게 벽돌 작가로 잘 알려진 더컬럼스갤러리의 김강용을 찾는 컬렉터의 발길이 이어지며 감각적인 색감의 작품들을 완판하였다. [Source from Culturelamp press release, provided by Ryu Eun ] www.culturelamp.kr [2024 KIAF] 4일 개막, 세계로 확장한 한국 미술시장 올해로 23회를 맞이한 국내 최대 아트페어 Kiaf SEOUL 2024(이하 키아프)가 4일 개막식을 시작으로 화려하게 막을 열었다. 8일까지 5일간 진행되는 키아프는 개막일 오전 프리즈 서울 (Freize Seoul)과 공동 개막식을 진행했다. 이 자리에는 오세훈 서울시장, 용호성 The Columns Gallery sold out all of Kim Kang Yong's Brick reality+image pieces , while Kidari Gallery reported that most works by Choi Hyung Gil were sold out. Ocean Gallery also sold out ten pieces by Jenny Park. Seojung Art facilitated the sale of Hong Soon Myung's work for 30 million KRW, and pieces by Park Tae Hoon and Hwang Do Yoo from Kim Ria Gallery were sold for over 10 million KRW each. 더컬럼스갤러리는 김강용의 벽돌 소품 시리즈를 전량 판매했고 , 키다리갤러리는 최형길의 작품이 대부분 솔드아웃 되었다. 오션갤러리도 제니박 작가의 작품 10점을 솔드아웃시켰다. 서정아트는 홍순명의 작품을 3000만 원에 거래했고, 김리아 갤러리의 박태훈과 황도유 작품도 각각 1000만 원 이상에 팔았다. [Source from Newsis press release, provided by Park Hyun Joo ] v.daum.net '키아프가 프리즈 했다'…"달라졌다" 8만2000명 깜짝 [서울=뉴시스] 박현주 미술전문 기자 = "키아프가 프리즈 했다." 3라운드 '키아프리즈'는 이전과 달랐다. 키아프(KIAF)의 달라진 면모로 '프리즈(Frieze)가 키아프 같다'는 반응도 나왔다. '한지붕 두 가족'의 '키아프리즈'는 상생의 아트페어로 거듭났다. 3회 만에 '서울을 글로벌 미술 도시'로 올려 세우며 "아시아 최대 미술장터가 됐다" < >

Back Time, Colour, Sound and AI: What Happens When Paintings Sing Time, Colour, Sound and AI: What Happens When Paintings Sing Last month, the art world gathered in Venice for La Biennale di Venezia 2024. Among them is 61-year-old American artist Shane Guffogg, whose experiments in AI have made the impossible, possible. My one hope when people see my paintings is that they're confronted with the silence of colour. - Shane Guffogg In 1911, a then-little-known artist Wassily Kandinsky made steps to unite colour and sound through his seemingly unfinished painting Impressionism III (Concert) which, at its core, acted as an artistic exploration into the neurodiverse condition synaesthesia. Depicting abstract figures and onlookers in a concert setting, it's said Kandinsky was inspired to paint the picture after attending a concert by the composer Arnold Schonberg, feeling compelled to translate the sounds he heard into colour, hence why half the frame is awash with a distinct canary yellow. Despite marking the art world's first attempt at bridging multiple creative disciplines by uniting sound and colour, it certainly wasn't the last, as proven by the California-born and raised artist Shane Guffogg's current Venice Biennale exhibition At the Still Point of the Turning World - Strangers of Time, which uniquely marries all of Guffogg's interests AI, music, painting and poetry. 'Impressionism III' (Concert), by Wassily Kandinsky, 1911 Inspired by TS Eliot's Four Quartets poem, the series is made up of 21 kaleidoscopic paintings, spread over two rooms the first titled Reach Into the Silence and the second, Neither Flesh Nor Fleshless. Dense flushes of colour swirl, bend and melt into each other in quick succession and, depending on their layering, affect each piece's overall hue. While beaming with equal feelings of nostalgia, joy, sorrow and elation, (depending on which colour you hone in on first), each one radiates its own signature rhythm, a feeling magnified via the dimly lit room they're placed in which is nestled within the historic 15th-century Venetian palazzo Scala Contarini del Bovolo in Venice. 'We looked at a lot of different spaces' Guffog tells me when I meet him at the exhibition opening in Venice, an implication that getting the space right was as paramount as the work's creation; something that becomes obvious when you're stood in such an impressive structure as this one. Dating back to 1300, the palazzo lies equal distance from Rialto and San Marco, the commercial and political hubs of the city. What's more incredible is the building's miraculously delicate yet sturdy spiral staircase, commissioned by Pietro Contarini in 1499 to embellish the building even more. Contained inside a 26 meter-high cylindrical tower built in Istrian stone, the series of steps features exposed bricks and is perforated with a number of arches that are flanked by lodges connecting the structure to the adjacent building. 'I like this space, mainly because of the history of it and the staircase's circular movement. This is the context i want my work to be seen within', Guffogg declares. 'Reach into the Silence', by Shane Guffogg It's at the end of the staircase on the second floor where you'll find Guffogg's paintings, nestled tightly together in one room. When speaking of the emotion he wished to evoke with the works, Guffogg made it clear he wanted to stop people dead in their tracks 'and be confronted with the silence of colour' upon walking into the room, similar to how the artist felt when he first read T.S Eliot's Four Quartets poem, something that's reverberated through him ever since. 'There's a line in the poem' he begins, before reciting: At the still point of the turning world. Neither flesh nor fleshless;Neither from nor towards; at the still point, there the dance is,But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. 'I’ve been reading those lines for about 30 years', Guffogg recalls. 'It’s a blend of East and Western ideologies. And the way Eliot talks about time flickering back and forth, between the past and the future, it's taught me that I, we, need to learn how to be in the moment; these paintings for me are about being in the moment.' It's through wanting to pass on this knowledge to people that has directly informed Guffogg's creation process. 'I knew I wanted these paintings to bypass an intellect of sorts and just force you into the moment. Each work took between three and six months to make and involved me painting day after day, all freehand. I started with a wider brush for the bottom layer and as the painting built up, transferred to using smaller brushes. I kind of think of them like a camera lens that’s focused on the middle where everything is clear but the edges are out of focus; these paintings are intended to quite literally bring you to that still point T.S Eliot comments on.’ 'Neither Flesh Nor Fleshless', by Shane Guffogg As for the poem itself, Beethoven's Opus 132 is widely credited as an indirect influence of Four Quartets, creating a tenacious link between both Eliot and the composer that many music and literature scholars have tried unpacking in recent years. Of course, Guffogg's own attempt at bridging the gap between different creative disciplines isn't new, especially when you consider the aforementioned Kandinsky, 'or Mussorgsky's Pictures at an Exhibition ' composer and music lecturer Anthony Cardella points out to me when I speak to him about his involvement in the musical process, but the way in which Guffogg has intentionally channelled his synaesthesia into making paintings sing, is. 'There’s never been such a specific case of this', Cardella continues. 'There’s been famous pieces derived from art and vice versa, and we know that Mussorgsky's reasoning behind Pictures at an Exhibition was meant as a tribute to his friend, the Russian artist Viktor Hartmann. But there's one stark difference, those pieces were inspired by the painting, they were not the painting.' 'Neither Flesh Nor Fleshless' by Shane Guffogg Working together, Cardella and Guffogg - along with AI software programmer Jonah Lynch - have come up with a series of musical compositions that are directly linked to the paintings by translating each colour into a specific note. 'Each painting has its own voice and we wanted to translate that physically so everyone else could hear colour along with Shane'. As for the process behind composing music in tandem with the paintings, AI remained a useful tool but didn't take the 'hands-on' feeling away from all those involved. 'It started with zooming in onto a painting and picking just one shade and blowing that up until it covers the entire laptop screen', Cardella tells me. 'It's important to note that for Shane, every colour has a different function. It’s never, "This blue is bread" it’s, "This blue helps us to transcend our current state of emotion", "This red brings us to the depth of our understanding of the way the world is". It was these functions that I felt echoed how in Western music we treat harmony: a cord is never in a vacuum, it has to have a function if it’s in a Western song. So, throughout this process, we were fishing around until we found the right note. And once we got there, it was always a snap moment for Shane, he would know in an instant whether it felt right or not.' Whenever that happened, Cardella would write the note down that belonged to the colour on the laptop screen and before long, something remarkable started to happen... 'we noticed that each shade of colour belonged to the same family of harmonies, just with subtle differences. That was really a penny-dropping moment', admits Cardella. 'Because it was like, "Okay, we're not crazy", you know? These colours really do all have their own sound.' 'Reach into the Silence', by Shane Guffogg Not only do the colours used have their own sound, but they also take reference from the architecture specific to Venice. 'The yellows you see in my paintings represent many of the buildings in Venice, so really, it's a site-specific piece of work', Guffogg Chimes in. 'I've been coming to this city for 20 years and so I was thinking about the different times of seasons and how light changes throughout the day. When you come in the wintertime time, you’ve got this cool greyness with the fog rolling in, which is a stark comparison to when it's summertime here. So I wanted to create this fusion of colour that reflects the way the canal's greenish hue changes to blue and back to green, each line is a memory that embodies this city, its shades and façades...for me, the paintings become a series of memories compressed into one moment.' When you piece all this together, the prevalence of Kandinsky's life and work in art becomes all the more ubiquitous. Particularly when you hark back to the artist's Colour Theory taught alongside Johannes Itten at the Bauhaus, where the pair adopted a synesthetic relationship with color, associating particular colors with both specific geometric shapes and with musical tones and chords. For them, yellow was best expressed as a triangle and a middle C played on a brassy trumpet. In his book, Concerning the Spiritual in Art, Kandinsky wrote: 'Colour directly influences the soul. Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another purposively, to cause vibrations in the soul.' Although Guffogg refutes the idea he looked at Kandinsky as inspiration for At the Still Point of the Turning World - Strangers of Time, those vibrations Kandinsky speaks of pulse all around the Scala Contarini del Bovolo, thanks to the energy embodied and the poetry reflected. At the Still Point of the Turning World - Strangers of Time is open to the public at the Scala Contarini del Bovolo until 24 November. 'Reach into the Silence', by Shane Guffogg [Source from SHOWstudio press release, provided by Christina Donoghue ] https://www.showstudio.com/news/time-colour-sound-and-ai-what-happens-when-paintings-sing < >

Back The Encounter of Andy Moses and Jeff Koons 제프쿤스(왼쪽)와 앤디모지스. Photo: Gallery Chang 팝 아티스트 제프 쿤스(Jeff Koons)가 최근 맨해튼 미드타운 갤러리 장(Gallery Chang)에서 열리고 있는 추상화가 앤디 모지스의 근작전 'Andy Moses: Recent Works'을 찾았다. 두 아티스트는 앤디워홀, 키스 레어링, 장 미셸 바스키아가 활동했던 1982년 뉴욕에서 활동하며 교류했던 사이다. 갤러리 장 측은 "앤디 모지스의 작품 세계와 제프쿤스의 상업적, 대중문화적 접근은 서로 다른 뒈적을 그려왔지만, 그 출발점에는 예술을 통해 세계와 소통하려는 순수한 열정과 시대를 직시하는 감각이 자리하고 있다"고 설명했다. 2월 20일부터 3월 25일까지 열린 'Andy Moses: Recent Works' 전시에는 앤디 모지스의 빛과 컬러가 유려한 흐름 속에서 어우러지는 대표작들과 함께 1960-80년대 후반 로스앤젤레스에서 로버트 어윈(Robert Irwin), 제임스 터렐(James Turrell)이 중심이 되어 시작된 이 운동은 빛과 공간, 지각의 확장을 탐구하며, 유리, 네옴, 아크릴 등을 소재로 새로운 감각적 경험을 제공했다. 갤러리 장은 "앤디 모지스의 회화는 과학, 자연, 추상의 교차점에 존재하며 관람자의 관점에 따라 변화하고 발전하는 역동적인 구성을 만들어낸다. 화학적 반응, 중력, 점성(viscosity)에 의해 이끌리는 그의 독특한 기법은 물감이 유동적이고 유기적인 형태를 띠게 하여 움직이는 자연력의 덧없는 아름다움을 포착한다"고 밝혔다. 앤디 모지스는 1962년 LA에서 추상화가 에드 모지스(Ed Moses, 1926-2018)의 아들로 태어나 캘리포니아예술대학(CalArts)에서 공부했다. 18세 때 뉴욕으로 이주해 팻 스티어(Par Steir)와 함께 일하기 시작, 1987년 첫 개인전을 열었다. 2000년 캘리포니아로 돌아가 작업해오고 있다. 그는 캘리포니아 해안의 서핑에서 영감을 받은 컬러 팔레트의 추상화로 널리 알려졌다. Press by NYCulture beat https://www.nyculturebeat.com/index.php?document_srl=4147047&mid=Lounge2 < >

Back The Essence of Perception: Group Exhibition www.nyculturebeat.com 갤러리 장 3인전(김강용, 김세중, 셰인 구포그) 'The Essence of Perception: 시간, 현실, 그리고 빛'(12/12-1/18, 2025) - Lounge - NYCultureBeat The Essence of Perception: 시간, 현실, 그리고 빛 셰인 구포그, 김강용, 김세중 2024년 12월 12일-2025년 1월 18일 갤러리 장(Gallery Chang): 50 West 55th St. 맨해튼 미드타운의 갤러리 장(Gallery Chang)이 할러데이 시즌을 기해 12월 12일부터 1월 18일까지 셰인 구포그(Shane Gufforgg), 김강용(Kim Kang Yong), 김세중(Kim Sea Joong) 작가의 3인전 'The Essence of Perception: 시간, ... < >

Back REALITY + IMAGE: Revisiting the Works of the 2010s Gallery Chang in Midtown Manhattan (Gallery Chang, NYC) presents the solo exhibition REALITY + IMAGE: Revisiting the Works of the 2010s by hyperrealist painter Kim Kang Yong, on view from September 30 to October 22. This exhibition introduces the works Kim Kang Yong most rigorously experimented with and developed during his stay in New York in the 2010s, when he redefined the possibilities of painting through his unique visual language known as “sand painting.” In particular, the paintings that explore the ambiguous gap between materiality and image continue to feel vivid and sensorial even in today’s New York. Using sand as if it were a brush, this artist, both unfamiliar and profound in vision, has drawn an independent trajectory within Korean contemporary art. From a distance, his works resemble photographs; up close, the surface grains begin to speak. Within them are bricks and sand—scenes where temporality and narrative, Korean material sensibility and international formal language, merge on a single plane. The tension in Kim’s paintings arises precisely at that boundary. His work has been described not merely as material experimentation, but as “visual thinking” that challenges the grammar of art history. Born in Jeongeup, North Jeolla Province in 1950, Kim Kang Yong studied Western painting at Hongik University in the 1970s under the master of Dansaekhwa, Park Seo-bo (1931–2023). After earning his MFA from Hongik University Graduate School, he served as a professor there. In 2004, he left academia and worked as a full-time artist in New York for ten years. He has held solo exhibitions at venues including Park Ryu Sook Gallery, Gana Art Center, Seoul Arts Center, Sungkok Art Museum, and the National Art Museum of China in Beijing. His works are in the collections of the National Museum of Modern and Contemporary Art, Korea; Seoul Museum of Art; Sungkok Art Museum; Hongik University Museum of Art; Park Soo Keun Museum; the Ministry of Foreign Affairs and Trade of Korea; Incheon District Prosecutors’ Office; and the Frederick R. Weisman Art Foundation (LA), among others. This exhibition marks the fifth collaboration between Gallery Chang and Kim Kang Yong. Curator Jinnie Kang commented, “I believe the works from this period represent the artistic peak of Kim Kang Yong. Presenting them again in New York today feels not like a simple retrospective, but like a response that reactivates the accumulated time and energy within them. I hope this exhibition becomes a point of reconnection between Korean visual language and the world. I am delighted to introduce the trajectory of Kim Kang Yong to more audiences in New York.” https://www.nyculturebeat.com/index.php?mid=Art2&document_srl=4165362 < >

Back Kim Kang Yong: “These Days, Even When I Paint with a Brush, People Still Call It Bricks” Exhibition of Hyperrealist Works from the 2010s, When Color Was Added to Monotone “I can’t force the meaning of a work onto the viewer. If people can imagine many things when they look at a painting, that alone makes it a good painting.” Kim Kang Yong, who is currently holding the exhibition Reality + Image: The 2010s at Gallery Chang in Manhattan, New York, said this in an interview with The Korea Economic Daily on the 10th. The exhibition, which runs through the 22nd, focuses on his works from the 2010s. Kim is widely known as the “brick painter.” He creates his works using a technique in which he sifts sand he has collected himself, mixes it with adhesive, and spreads it thinly over the canvas. At one point, his paintings were so hyperrealistic that they looked as if real bricks had been embedded into the wall. In his own words, these days he simply adds shading with a brush to repeatedly depict cubic forms, yet people still see them as bricks. “Even though I no longer paint bricks, people still interpret them as bricks,” he said. “But I don’t bother denying that interpretation.” He added that if people can imagine many things when they see his paintings, that alone is enough for him. “I don’t really care who evaluates my work—whether it’s a journalist or a viewer,” Kim said. “Sometimes, through their interpretations, I even learn things about my inner self and my paintings that I didn’t know.” His philosophy is to remain faithful to visual images in painting and leave all other interpretations to each individual. Kim first began painting bricks in 1976. While searching for his own subject matter and technique in order to debut as an artist, he eventually settled on bricks. He drew inspiration from construction sites, sand, and bricks that were everywhere during the era of industrialization. He worked with affection for each grain of sand. To him, sand symbolized human beings—each born with their own value. After abstract painters such as Jackson Pollock and Mark Rothko reached their peak in the 1940s and 1950s, hyperrealism emerged in the 1970s as a reaction. The art world, considering the direction of painting after abstraction, chose a “return to reality.” Kim’s work followed this larger flow. Around this time, he introduced transition into his work. Whereas his earlier paintings were monotone, he began adding soft colors. This was influenced by his fascination with the diversity of New York. “There was no single identical building, no single identical person,” he said. “I wanted to express that feeling in my paintings as well.” Even as he introduced these changes, his works overall retain a warm image. Even when he expresses shadows, they strongly evoke the feeling of natural sunlight. This differs from the colder atmosphere of much contemporary hyperrealism, which often conveys modern urban chill, human absence, or loneliness. “I myself am a positive and optimistic person,” Kim said. “I can’t help but let my inner self show through in my paintings.” Kim said he hopes to continue his international activities through opportunities like this exhibition. “Most artists my age have retired, but I still want to paint,” he said. “I still have the desire to surpass my teachers.” Gallery Chang has been consecutively presenting Kim’s works since February of last year to help audiences better understand the full scope of his practice. In January next year, the gallery will hold a joint exhibition of works by American abstract painters Andy Moses and Ed Moses alongside Kim’s works. www.hankyung.com 김강용 "요즘엔 붓으로 그려도 벽돌이라고 하네요" 김강용 "요즘엔 붓으로 그려도 벽돌이라고 하네요", 인터뷰 - 뉴욕서 전시회 연 '벽돌 화가' 김강용 모노톤서 색감 입히기 시작한 2010년대 극사실주의 작품 전시 1976년부터 벽돌로 작품 활동 누구의 평가도 상관하지 않아 작품 의미해석은 관람객 자유 상상 자극하는 그림 계속 그릴 것 < >

Back Gallery Chang hosted 2025 New York Fashion Week: The Rendezvous of Art, Fashion, and AI www.nyculturebeat.com 갤러리장 미술과 패션, AI의 랑데부 - People - NYCultureBeat 미술 & 패션 & AI의 만남 갤러리장 쥬얼리 디자이너 알렉스 솔져 VIP 파티 2월 6일 갤러리장에서 열린 알렉스 솔져 VIP 파티에서. 사진: 갤러리장 제공 맨해튼 미드타운의 갤러리장 (Gallery Chang, 150 West 55th St.)이 2월 6일 2025 뉴욕패션위크(New York Fashion Week, 2/6-11) S/S(춘하 컬렉션) VIP 애프터 파티를 열었다. 한인작가 5인전(조용익, 김인옥, 안성민, ... < >

Artist Biography Works Media Next Yoo Choongmok BIOGRAPHY EDUCATION 2016 PhD coursework in Nano IT Design Convergence, Seoul University of Science and Technology, Seoul, South Korea 2013 Master's in Glass (Top Graduate), University of Sunderland, Sunderland, UK 2004 Bachelor's in Environmental Sculpture (Glass), Namseoul University, South Korea EXPERIENCE ~Current Resident Artist, Ghana Atelier, Jangheung, South Korea 2018 Founder, Jeju Glassmic, Jeju, South Korea 2018 Next Generation Mentor, Korean Scholarship Foundation - Jeju (Culture, Sports), Jeju, South Korea 2016 Visiting Lecturer, Department of Ceramics, Kyung Hee University, Suwon, South Korea 2014 - 2016 Resident Artist (Glass), Icheon Ceramix Foundation, Icheon, South Korea 2013 Demonstrator and Commercial Designer, National Glass Centre, Sunderland, UK 2004 - 2009 Glass Designer & Technician, Carlson Glass Works, New York, USA INVITED LECTURES 2014 Guest Lecture, Glass Sculpture Graduate School, Kookmin University, Seoul, South Korea 2014 Guest Lecture, Department of Ceramics, Kyung Hee University, Suwon, South Korea 2013 Invited Lecture, University of Edinburgh, Scotland, UK 2008 Demonstration and Lecture, Namseoul University, Chungnam, South Korea WORKSHOPS 2015 Korea-Japan Ceramics Workshop “Coexistence of Thoughts,” Korean Ceramics Foundation, Icheon, South Korea 2014 International Glass Festival Workshop, Invited Artist, Namseoul University, Chungnam, South Korea 2005 Corning Museum of Glass, Robert Scavuzzo, Corning, USA 2003 Pilchuck Glass School, Dante Marioni & Kiki Smith, Seattle, USA 2003 Glass Demonstration, Cheongju International Craft Biennale, Cheongju, South Korea SOLO EXHIBITIONS 2021 Invited Solo Exhibition, Gallery Mari, Seoul, South Korea 2020 Invited Solo Exhibition, Studio Kki, Gyeonggi-do, South Korea 2019 Invited Solo Exhibition, Daisy Gallery, Jeju, South Korea 2018 Invited Solo Exhibition, Insa Art Center, Seoul, South Korea 2018 Invited Solo Exhibition, Space Yeunar, Jeju, South Korea 2015 Invited Solo Exhibition, Woong Gallery, Seoul, South Korea 2011 Yegam Art Gallery, Queens, NY, USA 2011 Gallery 1&9, Ridgefield, NJ, USA SELECTED EXHIBITIONS 2021 Re-Brand New, Yujin Gallery, Seoul, South Korea 2020 “The Dimensional:” Group Exhibition, Woong Gallery, Seoul, South Korea 2020 Evolution of Korean Contemporary Glass 2020, Shinsegae Department Store, Cheonan, South Korea 2020 SUPER COLOR! SUPER ARTISTS! Group Exhibition, Riseoul Gallery, Seoul, South Korea 2019 Sculpture Art Seoul, COEX, Seoul, South Korea “We Believe” 2019 Gilead Hope Gallery, Ara Art Center, Seoul, South Korea “New Wave of Transparent” Fabeyond Gallery, Seoul, South Korea Regional Exchange Exhibition “City Five Senses,” Touring Exhibition at Five Municipal Art Museums 1st Anniversary Special Exhibition, Dogye Glass Land, Samcheok, South Korea Korean Contemporary Craft Selection Exhibition, Cultural Station Seoul 284 Gallery, Seoul, South Korea CHANGE: Seeing Differently, Ghana Atelier Artist Exhibition, Ghana Insa Art Center, Seoul, South Korea 2018 Ghana Atelier Open Studio Exhibition Invited Artist Planning Exhibition, Dogye Glass Land Opening Celebration, Samcheok, South Korea 2017 44th Korean Craftsmen Association Exhibition, Cultural Station Seoul 284 Gallery, Seoul, South Korea 2016 Invited Artist at Character Licensing Fair, COEX, Seoul, South Korea NSU Blowing Technicians Group Exhibition, Gallery Yiang, Seoul, South Korea Korean Ceramics Foundation Ceramix Resident Artist Planning Exhibition, Yeoju Living Craft Center, Yeoju, South Korea GLAS:SCAPE in Contemporary Art Exhibition, Glass Island, Ansan, South Korea 43rd Korean Craftsmen Association Exhibition, Cultural Station Seoul 284 Gallery, Seoul, South Korea 2015 "Blooming HANDS" Group Exhibition, Kimria Gallery, Seoul, South Korea “Glass is Beautiful” Group Exhibition, Kyung Gallery, Busan, South Korea "Toyu" Group Exhibition, Bandal Art Museum, Yeoju, South Korea International Glass Sculpture Exhibition, Ligak Art Museum, Cheonan, South Korea 2014 "IDIOMATIC" Korean Ceramics Foundation Resident Artist Exhibition, Ghana Insa Art Center, Seoul, South Korea Meet the Hot Glass Exhibition, Ansan, South Korea 16th Glass Story Exhibition, Namseoul University, Chungnam, South Korea “Aul” Exhibition, Gallery Yiang, Seoul, South Korea 2013 Stanislav Libenský Award 2013, Prague Gallery, Czech Republic Coberg Prize for Contemporary Glass, Coberg, Germany “Glassfest” Invitation Exhibition, Karlovy Vary, Czech Republic “Idiolect” Glass Exhibition, Jarrow, UK “Sociolect” MA Group Exhibition, Newcastle, UK 2012 ELEMENTAL 3-Person Exhibition, Nahrah Gallery, Fort Lee, NJ, USA Korean Art Show 2012, Soho, NY, USA 2011 CRAFT Forms 2011 Exhibition, Wayne Art Center, PA, USA 2007 NICHE Award Winners Exhibition, Professional Blown Glass Category, PA, USA Cheongju International Craft Biennale, Cheongju, South Korea 2006 CRAFT ART Western New York, Burchfield-Penney Art Center, Buffalo, NY, USA 2005 Cheongju International Craft Biennale, Cheongju, South Korea 2004 Doors Gallery, Daejeon, South Korea 2003 G.A.S Conference International Student Exhibition, Seattle, WA, USA 2002 In Glass: Glass Sculpture Exhibition, Sejong Center, Seoul, South Korea 1998 Samsung Glass Sculpture Exhibition, Seoul Arts Center, Seoul, South Korea AWARDS 2014 Encouragement Award, Hangju Craft Design Competition, Gyeonggi-do, South Korea 2013 Prize from National Glass Centre "2013," Sunderland, UK 2007 NICHE Award Winner, Professional Blown Glass Category, PA, USA Special Selection, Cheongju International Craft Biennale, Cheongju, South Korea 2005 Entry Award, Cheongju International Craft Biennale, Cheongju, South Korea 2003 Entry Award, New Frontier Competition Honorable Mention, Glass Art Society Student Exhibition, Seattle, WA, USA 2002 Entry Award, Samsung Glass Sculpture Competition, Seoul, South Korea 1998 Minister of Culture Award, Unification Sculpture Exhibition, Gyeonggi-do, South Korea PUBLICATIONS 2020 Artist Introduction, Money Magazine, November 2020, Seoul, South Korea Artist Introduction, Jeju iiin (in) No.27, Seoul, South Korea Artist Introduction, Monthly Essay No.404, Seoul, South Korea 2019 Art & Design, October 2019, Seoul, South Korea 2018 Korean Craftsmen Association Journal Introduction, Seoul, South Korea Monthly Ceramics Vol.269, Seoul, South Korea 2007 Articles and Front Advertisement, Niche Magazine, USA Arts Category, Rochester Insider Newsletter, USA 2006 Craft Forms 12th Annual Magazine, USA 2004 Glass Artist Exhibition Magazine, Cheongju Museum, Cheongju, South Korea 2003 New Glass Review Vol.24, Corning, USA 1998 World Daily Page 2 “Unification Sculpture Exhibition,” Seoul, South Korea COLLECTIONS Global Art Venue Gallery, Seattle, WA, USA Korean Craft Museum, Cheongju, South Korea Pamela Lee Biallas, Bellevue, WA, USA Dr. Samret & Mr. Bernie, Buffalo, NY, USA WORKS MEDIA

United States, 1976 Artist Biography Works Next Michael Hedges United States, 1976 BIOGRAPHY Michael Hedges is an American abstract expressionist painter whose dynamic works are celebrated for their vibrant interplay of color, form, and texture. Based in Chicago, Illinois, Hedges has dedicated his career to pushing the boundaries of abstract expressionism, creating compositions that balance energy and elegance. Born and raised in Oak Park, Illinois, Hedges began his formal art education during high school, spending two years studying at the Art Institute of Chicago. He later pursued a Bachelor of Arts in Studio Art at Loras College in Dubuque, Iowa, graduating in 1998. This foundation in both classical and modern art traditions informed his distinctive approach to abstraction. Hedges’ artistic process is deeply intuitive and experimental. Working on multiple canvases simultaneously, he applies paint in energetic bursts, building richly textured surfaces that draw the viewer into their complexity. His use of bold, vibrant colors is both deliberate and instinctive, creating intense visual relationships that harmonize with the textured forms. His goal is to craft a controlled elegance where color and texture coexist in dynamic balance, producing works that are as emotionally resonant as they are visually striking. Since his graduation, Hedges has exhibited his work in select galleries and prestigious venues such as Art Miami. His paintings are included in corporate collections throughout the Chicagoland area and Iowa, reflecting his growing influence in the contemporary art world. Currently living and working near Chicago, Michael Hedges remains committed to his artistic practice. His dedication to exploring the limitless possibilities of abstract expressionism ensures that his work continues to evolve, resonating with audiences who appreciate its vibrancy and depth. WORKS