BiHop

Removing Myths and Ideologies
It is so natural to objectify others that we can improperly consume and exchange others too easily. This is the result of the other as the object which is the contrasting concept of the subject, from being born again as the subject of our own utterance.
I parody the paintings of renowned artists such as Dali, Bacon, Gogh, Manet and Leger, for escaping from this dichotomous ideology of the subject-object. It shows the intention of de-subjection and de-objection by removing the Milkmaid from the Vermeer’s painting and taking away the Clocks from Dali’s. I also made Elaine disappear at Waterhouse's “The Lady Shallott”. Numerous masterpieces were revolutionary works out of the conventional dichotomy of subject-object from the contemporary perspective, but todays they are stereotyped and the artists become ideologues regardless of their intention. As time goes by, innovation becomes more customary, and grounded in ideologies.
The history of art is clearly progressive. But progress in history always requires the pain and leap of patricide. So I eliminate the mythical and ideological themes from the establishment. If we remove the mythical themes, the non-subjects that alienated and suppressed like the background will come to rise across the canvas. But now the non-subjects can emerge as subjects again. In my works, background and objects as background are not filled with paints but reveal the color which is basic colored on canvas. The reason for this is to block to the possibility that the background and objects as background, that is, the non-subjects, will also be fixed as subject-object. I often paint with knives as well as brushes, in order to prevent planned/intentional fixation and to reveal the accidental nature of the world.
My artworks and works of art will someday become solidified with myths and ideologies, but I think the attempts to break them down and the process of the efforts are important. Progress evolves endlessly, but if we abandon the capture of its runaway, the dichotomy between the subject and object will be further consolidated and unchanged customs will be centered on power and then such power will rule over objects with violence.
I even parody my artworks recently. I reconstruct the paintings I drew several years ago in a recent way, reversing the themes and subjects of my works. As a result, the ideologies in my woks are castrated.

Could you tell us a little more about your background, and how did you begin creating art?

When I was young, my dream was a painter. I was happiest when I was drawing pictures, and painting was like the reason for my life. However, I was unable to enter art college due to the extreme opposition of my parents. I had lived with repression of my dreams, but the stress caused me to become paranoid when I was 24 and suffered from mental illness for more than a year. When I was 29, I started painting by myself, and I studied art through books and the Internet. I opened my first solo exhibition in 2007, but it was very difficult to live as a painter in Korea without majoring in art at university. Non-majors were excluded from the art market and it was too difficult to be incorporated them into the art system. Nevertheless, I studied harder and tried to create great works. I exhibited at the Saatchi Gallery in London in 2018 and 2019, and I am preparing several upcoming exhibitions in Seoul and New York. Also, my parents support me now.

What does your art aim to say to the viewers? 

I parodies masterpieces to escape from the binary ideology of subject-object (object). By disappearing Manet's Olympia and erasing Dali's clocks, I try to show the intention of de-substitution and de-objectification. In other words, it eliminates themes that became myths and ideologies. From the perspective of the time, numerous masterpieces were innovative works that deviated from the conventional dichotomy, but today they have become stereotypes, and artists have become ideologues regardless of their intentions. The subject matter that is the main character in the painting excludes other things as objects, it further solidifies the subject-object dichotomy. And it concentrates power as ideology and a mythical hero, and such powers will rule over objects with violence. If we remove the mythical themes, the non-subjects that alienated and suppressed like the background will come to rise across the canvas.

Nowadays, I think that the images of cities in the world that are empty due to COVID19 resemble my works. And I feel ambivalent about this situation. The clear sky by the shutdown of factories everywhere vs the gloomy of economic activity. Quiet Earth (a sudden decrease in earthquake noise generated by machines and cars) vs loud reports from the media. Reviving of nature and animals leisurely walking through the city vs the deaths of humans encroached by the virus and mourning for them. How long have we humans dominated nature as the absolute other, like the protagonist of the famous paintings that I have parodyed? While suffering from pneumonia in the ruined urban civilization of the Tower of Babel, I think of the paradoxical well-being of the Earth. 

Can you tell us about the process of creating your work? What is your daily routine when working?

In my work, the background and objects are not filled with paint but reveal the color which is basic colored on canvas. The reason is to block the possibility that the background and objects, that is, non-subjects, will also be fixed as subject-object. I paint with a knives as well as a brushes, in order to prevent the planned/intentional fixation and to bring out the accidental nature of the world. Before starting work, I relax and pray for a while to let go of my willingness to “I will work”. It's like a simple ritual for the being possessed of a spirit. And I work with loud music, dance, and alcohol. This is because it is not a rational act of painting, but a way to show my senses and accident. 

What’s the essential element in your art?

The senses are important when painting, but a lot of knowledge is required to work. So, I usually read books or acquire information in various fields such as philosophy, science, history, culture, politics, etc. That information and knowledge become important elements in my art. My work was influenced by Roland Barthes' concept of Punctum/Studium and Deleuze's theory of Nomadism. That is, philosophy was a direct influence. However, I have no choice but to be influenced indirectly in various fields, and the influence is very important. This is because art must start with the artist's personal experience and expand into society to acquire universality. 

In your opinion, what role does the artist have in society? 

As mentioned earlier, artists should play a role in society and community, rather than staying in individual satisfaction. To this end, the artists must help the public to become criticized and reflective reflection by constantly asking questions in society. They don't have to have an answer to that question. The opinions and implementations of questions are for politicians, sociologists, engineers, etc., not artists. It is the responsibility of the artists to ask questions to the public and make them have forward-looking discussions. To further add my wishes, I hope that my works will influence the next generation of artists, so that the study of painting will continue.

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