Note 1.1

Jino PARK's arts work note

Archive for March 2010

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새로운 작업에 착수. 그러고 보니 그리드는 항상 따라다니는 방식. 처음엔 환경에 맞추려던 것이었지만 지금은 그것 자체가 의미 있는 것.

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March 31, 2010 at 9:10 pm

Posted in Uncategorized

하루한점 69 – Louise Bourgeois – Echo IV

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TITLE: Echo IV
ARTIST: Louise Bourgeois
WORK DATE: 2007
CATEGORY: Sculptures
MATERIALS: Bronze painted white, and steel
EDITION/SET OF: 3/6
SIZE: h: 36 x w: 12 x d: 12 in / h: 91.4 x w: 30.5 x d: 30.5 cm

루이스 부르주아의 ‘메아리’입니다.
서울에 있는 동안에는 그야말로 숨 쉴 틈도 없이 바빠서 전시 구경은 생각도 못하고 있었습니다. 그날도 무슨 약속 때문에 삼청동에 나가는데, 갑자기 모든 약속이 줄줄이 뒤로 밀리리면서 1시간이 비어버린 겁니다. 1-2분 사이에 생긴 일이라, 마치 길에 우두커니 서 있는데 모르는 사람이 손에 1시간을 쥐어주고 간 기분이었습니다. 자, 이걸 어떻게 한다. 별로 생각할 것도 없이 동행하고 있던 지인과 오랜만에 미술관구경을 하기로 했습니다.
마침 국제갤러리에서 루이스 부르주아전을 하고 있었습니다.
위의 사진은 인터넷에서 구한 사진입니다. 갤러리 직원들이 워낙 열심히 촬영을 막고 있어서 달리 사진 촬영은 하지 못했습니다. 카타로그라도 사오려고 했는데, 아쉽게도 아직 나오지 않았답니다.
저도 객적은 소리로다가, 이제 지금 당장 죽어도 요절한 천재소리 듣기는 글렀으니 남은 목표는 최대한 오래 버텨서 ‘최후의 증인’이 되는 수 밖에 없다고 농담을 하고 다녔습니다만, 그걸 실천하시는 것을 넘어, 심지어 현역으로 활동하시는 모습을 보니 참 존경스럽습니다.
더 존경스러운 것은 그 연세에도 그림이 또 느신 것 같다는 겁니다! 다른 사람에게는 까마득히 어린 후배가 이런 말을 하는 것 자체가 건방진 말일 테지만, 부르주아 누님은 너그러이 이해해 주실 거라 믿습니다. 그림이 늘었다는 것은 어디까지나 추상적인 관념이어서, 수바루 포레스타 2010이 2009보다 연비가 몇 프로 향상되었는지 설명할때 처럼 수치로도 그래프로도 보여줄수 없습니다. 하지만, 말 안해도 아는 사람은 다 아는 겁니다. 게다가 그림 그리는 사람들은 천진한 구석이 있어서 그림이 좋아졌다고하면 남녀노소를 막론하고 즐거워하십니다.
하기는, 부르주아는 재료를 다루는 섬세한 감각이 워낙 뛰어난 작가라 늘 재료를 다루는 새로운 방식을 선보이곤 했습니다만, 제가 누님 그림이 늘었다고 느낀 부분은 작품의 외양이 아니라 내면입니다. 작품을 가만히 들여다 보고 있으면 전에 없이 느껴지는 내면의 따뜻함이었습니다.
전에 부르주아의 ‘쓰라린 드로잉’을 보노라면, 아 참 가혹한 경험을 했었구나 싶어 측은한 마음도 들지만, 또 한편으로 평생을 두고 그 상처를 메만지며 아파하는 모습이 불편하기도 했습니다. 이번에 전시된 드로잉 작품들도 여전히 아픈 상처라거나, 상처입기 쉬운 여성성등을 다루고 있습니다만, 그것들을 다루는 방식이 따뜻해진 것을 느낄 수 있었습니다. 특히 고운 면천에 ‘빨간약’ 이거나 ‘피’처럼 보이는 붉은 안료로 그린 드로잉 연작들은 마음에 난 상처를 꾹 눌렀다 떼어낸듯 한 그 천과 색의 질감이 너무나 부드럽고 온화해 보여서 이젠 이 할머니가 다른 사람의 상처를 치료하고 계시는구나, 아니 어쩌면 내가 모르는 사이에 스스로 누구나의 엄마가 되어 모두 안아주고 닦아주고 그러나보다 싶었습니다.

Written by jinopark

March 26, 2010 at 5:20 pm

Posted in 1 picture 1 day

Meditation on the Artist Jino Park By Myongbon, Buddhist Monk

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Meditation on the Artist Jino Park
By Myongbon, Buddhist Monk

Om¹

As the Universe’s door opened, the light of Purusha², the pure spirit, was lost. The place left by the light was occupied by Prakrti³, the essential desire. The period of purity receded, and the period of desire unfolded. The pure souls, who fell asleep in the snow-covered Himalayan Mountains, seeped into the good earth and became the spirits of the trees. They dreamed new dreams within trees and spent a long time waiting. The humans who lived the period of desire could not control their own desires and fell to lust, folly and fury. They forfeited the homogeneous reason and were driven by the destructive original nature. Though their limbs were torn to pieces, they could not escape from the sea of desire.

Artist Jino Park fares the path. Jino Park the artist dreams of Utopia. He is an artist who, while living on this parched earth, dreams of the nirvana lurking behind the dark desires of this age where man’s pure spirit is lost. He has passed through the Taklamakan desert and climbed over the snowy Tienshian Mountains. Whatever hardships stood before him could not cool his passion as a seeker. Finally he met Bodhidharma. However, this was no longer a pure Bodhidharma. Bodhidharma had chosen the world of man’s desire instead of the spiritual world. The Bodhidharma he faced had bursting eyes of lust; his ears were filled with the turbid sounds of this world; his mouth was benumbed with the sweet taste of honey. It seemed the pure Bodhidharma was nowhere to be found. Instead of searching for a pure Bodhidharma, Park had as his companion a painful reality and a severe pain. Park suddenly contemplated his own inside, and looked back over the long period that had brought him to that point in time. He had fallen into a deep meditation reminiscing the seeker who had sat under the tree of enlightenment in Bodhgaya⁴ of ancient India. In the deep night when his mind became serene like the ocean and the pure white moon was out in the sky, he saw Bodhidharma in a flower. It brought him sheer ecstasy and joy. He had finally found a pure Bodhidharma. A ray of dawn emanated from the white hair between the eyebrows on Bodhidharma’s face. A spirit of purity took its place in the warped eyes of Bodhidharma. A gentle smile arose over Bodhidharma’s lips. Numberless flowers of the earth began to bloom over his head. Park thus found Bodhidharma by deserting Bodhidharma.

Park met the lucid smile of the pure spirit in the age of desire. Park was an artist who looked inside himself. In all manner of burning desires of reality, he put to rest his own desires, and started on his way in search of the pure spirit he had lost in the beginning, finally rediscovering Bodhidharma at the end of his journey. The Bodhidharma Park met had shed the endless desire, clinging, and attachment of this world. There was no more desire in Bodhidharma’s face. Bodhidharma had become a flower that showed the pure world. Bodhidharma’s eyes were calmer than a deep lake, Bodhidharma’s mind had merged with the pure spirit.

There he stood. The earth where Buddha had achieved a still nirvana under the tree of enlightenment, the mother earth Bodhidharma encountered after crossing the Yangtze river riding on reeds; there, on that earth Park recognized the clear and pure spirit. Now in the garden, where he rediscovered the lost spirit, there stands a pine-nut tree amidst life, which passes like morning dew, water foam, fantasy and haze. Through that pine-nut tree, Park communicates with nature, meets the tree’s spirit, and merges with the universe. He has entered such a world of purity. The moment he realizes that the spirit is one with the universe, then and there he finds Bodhidharma. And in that particular place, the tree’s spirit stands. Jino Park is not to be found there any longer, however.

Footnotes:
¹ Om: A sacred phrase considered to be the greatest among Buddhist mantras.
² Purusha: An Indian metaphysical concept, particularly in Vedic religious beliefs.
³ Prakrti: A material principle, in contrast to Purusa, which is a purely spiritual principle.
⁴ Bodhgaya: A village of the Bihar state in Northeast India.

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March 25, 2010 at 11:02 am

Posted in Dharma Tree

芝溶

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거대한 파라솔

Written by jinopark

March 24, 2010 at 1:18 pm

Posted in Uncategorized

Dharma Tree – a cultural shock By Woo-sik Kang

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Jino Park’s Solo Exhibition of Dharma Trees
-Dharma Tree – a cultural shock

By Woo-sik Kang, poet, literary critic, and Professor emeritus of
Sungkyunkwan University

It’s March. Spring sunlight has come to the place where I live. I move the chair out to the veranda and I gaze at the sun. I don’t gaze at the sun for any particular reason, I do it naturally because I love spring sunlight. It’s like welcoming the spring with my mind resembling a tabla rasa. With my mind emptied, and my soul dismissed, I suddenly wonder how Bodhidharma, who is here now in this land, would usher in the spring season.

My wonder was occasioned by artist Jino Park’s solo exhibition “Dharma Trees.” The strange but attractive title, “Dharma Trees”, was immediately inscribed in my brain and prompted me to go and see the exhibition. The Dharma trees which Park brought from America have been planted in several places in Seoul. I found it in Gallery Pig in Cheondamdong. And I’ve heard the welcome springtime news that they were being planted in the Pyeongchangdong branch of the Foreign Exchange Bank, in the lobby of Baikam Art Hall in Samsungdong, and in Gilsang Temple in Sungbukdong. I traveled quite a distance to see the Dharma tree at the Foreign Exchange bank in Pyeongchangdong.

In one word, Jino Park’s solo exhibition of Dharma trees provided a fresh cultural shock. Like many other people, I’ve seen Bodhidharma paintings perhaps more than any other Buddhist paintings. My experience as a spectator has accumulated to shape an idee fixe in me. I’ve formed a certain notion that Bodhidharma painting is executed with one bold brush-stroke and in forceful but light coloring with ample margins. I’ve seen numberless conceptualized or fixated Bodhidharmas, and Bodhidharmas which could not escape from being Bodhidharmas. The Bodhidharmas I’ve met before were Bodhidharmas and nothing other than Bodhidharmas. They were Bodhidharmas which could not shed their religious roots. I could not but feel that they were Bodhidharmas too preoccupied with Buddhism and did not quite reach the level of perfection as art work. From among the innumerable episodes about Boddhidharma circulating among people, my favorite is the remarks about Bodhidharmas’s enlightenment : “Buddhas or Bodhisatvas don’t regard body as body or life as life so that they may be able to pursue the Dharma.” Numberless Bodhidharma paintings lacking such enlightenment have assailed our world. They were Bodhidharma pictures that were commonplace and disappointing.

Jino Park’s Bodhidharma paintings feature an entirely new Bodhidharma. It is a Bodhidharma I’ve never seen before. It is a Bodhidharma nobody would call Bodhidharma. Here is a Bodhidharma which demonstrates Park’s unconventional forte as an artist and which has imbibed a certain creative life force. It is a Bodhidharma who was not born in India, but was born in Korea, stayed in America, and then came back to Korea. It is not a Bhodhidharma that was painted in conventional ink coloring. Park’s Bodhidharma emerges through digital printing like a latterday Bodhidharma. It is Park’s unique Bodhidharma drawn with pen, for which the artist chose the colors and shades using the computer, and which appeared in variegated daylight. It is a global Bodhidharma. In his Author’s Note, Park describes Bodhidharma’s birth as follows:

It’s Bodhidharma that I encountered while gazing into the darkness for a long time. Bodhidharma appeared to me like a bountary between dark and light, beautiful and ugly, life and death. In order to portray this peculiar saint, I’ve attempted to paint a portrait of a bad man made up of all the beautiful things of this world. This attempt led me to certain lights and colors for the first time in a long period of time and I began to draw trees. I was drawn more and more to trees.

I’m thrilled by his motive for drawing Bodhidharma as a “portrait of a bad man made up of all the beautiful things of this world.” I’ve known through his previous solo exhibitions that, like an artist who had studied video or performance arts while working towards his ENSAD Diploma (2003) from École Nationale Supérieure des Arts Décoratifs, or his DNAP Diploma from École Nationale Supérieure d’Arts Paris-Cergy-Pointoise, in France, he was avant-garde and an experimentalist. Yet I guess that he has made a certain bold decision as an artist before plunging into the world of Bodhidharmas. In other words, Park’s Bodhidharma is not a conventional one but is an entirely new one portrayed with diverse tones and colors resulting from a considerable amount of time, labor and agony on the part of the artist. The solo exhibit held at the gallery of Munwha Ilbo last year was titled “Labyrinth.” It represented the Knossos labyrinth and a diverse world of myths based on Greek mythology. It symbolized the direction of life of modern man fumbling his way about in a labyrinth similar to that of the age of myths. Carrying the Greek myths forming an axis of the Western culture and civilization, Park has come back to the Oriental world. I see a contemporary Baudelaire in the Bodhidharma (“a portrait of a bad man made up of all the beautiful things of the world.”). I see a Baudelaire who an epoch earlier had alarmed the existing poetic scene with his book of poems Flowers of Evil, eulogizing the esthetics of evil. As we do in Beaudelaire’s essays about Picasso, so in Jino Park’s paintings we witness unusual literary imagination and poetry. Park demonstrates a unique artistic spirit in his pursuit of an esthetics of a brave new world; His paintings do not simply represent a return from Western to Oriental esthetics, but his paintings unfold a world where East and West converge and criss-cross.

As Jino Park has stated, he is a man of boundary—a man of boundary between dark and light, beautiful and ugly, life and death, East and West, myth and religion. Bodhidharma is the incarnation of a world embracing both West and East that Park has seen and surveyed. Park is a man of boundary like Baudelaire. Let us look closely at Park’s Bodhidharma. The historical Bodhidharma looked wild to start with. In order to attain the Way, he had faced the brick wall, which was more severe than the prison, for nine long years. More than that, he cut out his eyelids to chase away sleep, looking dreadful with his gaping eyes. Common sense renders him a strange man somehow. To attain the Way, he mutilated himself and sat for 9 years facing the wall, shackling himself like a mad man. His was a personality with demonic tendencies. Now Park has made him look even worse. He has created an ugly and dreadful evil man with corroding and rotting skin. Incidentally, why do artists willingly create models of characters that an ordinary person would shun forthwith? The literary term for such a phenomenon is “Philoctetes Inflammation.” Philoctetes was a master archer of Greece. He had the bad luck of getting his foot bitten by a viper during the campaign for Troy. His bitten toe was immediately inflammated and decayed and stank terribly, repelling people. Because of his inflammation, he was eventually expelled to an uninhabited island for ten years. However he was an indispensable man for the campaign to take Troy. In the end, they had to call him back to the campaign because they needed a master archer more than anything else. Many works of art today portray situations like this. They are intended to warn and shock the reader about such dread diseases as well as to divulge the absurdity of the modern world. There’s this paradox that, even if society may treat an artist with low esteem, it needs his artistic creativity, even if unsavory. Park’s Bodhidharma may well be the embodiment of Philoctetes Inflammation lurking in the artist’s subconsciousness.

Park’s Bodhidharma, though embodying certain demonic beauty, has been painted in very beautiful, fanciful and often mysterious colors. His Bodhidharma’s face resembles the labyrinth or the treasure box that appear in children’s treasure-hunting. They may contain stars, seas, burning deserts, flowers and leaves of grass. Locks of hair may wave like thickly wooded forests. The whole cosmos exists in the face, creating order out of chaos as in the times of the Genesis. Like the young Maori men we encounter in some South Pacific islands with their whole face tatooed with unknown signs and patterns, they smack of shamanism. Diverse digitally printed colors cover Bodhidharma’s face. At the same time, there is a sense of lightness and humor as in some American art. Among these elements, Bodhidharma’s eyes look mysterious. One eye expands to a circle (infinity), a big star of an eyeball looms like a symbol. The other eye is filled with several layers of a circular miniature cosmos. I meet an infinite cosmos in the unbalanced eyes. The eye with the star-eyeball represents an enlarged cosmos from among the several layers of cosmos in the smaller eye. Besides, the minute dots look like sperms or eggs of cosmos yet to be born or hatched. They offer fun like cartoons; like philosophical or religious ideas, they may evoke diverse notions for different viewers. Looking at the Bodhidharma painted by Park, I wonder how lucky I’d be if I had such amusing yet profound eyes like Bodhidharma. How nice it would be to have such eyes to look through the future, and foretell such things as human destiny. In Buddhism, they say everything is created by the mind.

Subsequently, Park moves from Bodhidharma the man to the world of trees. If Bodhidharma represnts the outer world, all the phenomena of the outer world constitute a record of the inside. One of the elements of the inner world emerges outside, Bodhidharma the man becomes an inner being residing within the tree. At one time or another, I wondered why a tree has been looked upon as a sacred being. Man’s worship of the tree can be noticed everywhere. The Korean foundation mythology surrounding Tan-gun features an oak as a holy tree; During the Shilla Kingdom, kings roamed through famous mountains to hold religious rituals. In our villages even today we often meet sacred trees. These cults or beliefs do not exist in one country alone. Like universal legends they are ubiquitous throughout the world. Trees which are regarded as cosmic trees generally are located in the central areas of a country. When in human history did man begin to worship the tree as a sacred being? What exactly happened between man and the tree? And I was made to wonder like a child whether there was a period of time when the tree (not as mere plant life) ruled over man with tremendous power. In such circumstances the tree may have been a mobile organism. Recently, I saw the movie “Avatar” where I thought I witnessed the actualization of what I had imagined so far. A giant tree stood in the midst of the village inhabited by a tribe called Nabi, controlling and dominating everything silently, and fought human beings attempting to remove it.

The Dharma tree Park has created assumes such a sacred appearance. Viewing Dharma trees, seeing Bodhidharma become a tree, and Bodhidharma and the tree merging into the Dharma tree, I was curious how much the artist has imagined about the tree, being reminded of Park’s Author’s Note.

They say to sleep is none other than to experience a mini-death. Each day we fall asleep and die, each day we wake up and revive. It is said the Korean word “Saram” (meaning man) is another way of pronoucing “Sarm” (meaning life); Man tries to live on, but cannot escape death. There comes the time when man fails to wake up. A dream is a mini-life within the mini-death in sleep we experience daily. To dream is to attempt to live; We are often startled by a dream and awake. We thus revive. And we are amazed by the vividness of dreams. Bad dreams and nightmares carry such vividness. I’ve long portrayed bad dreams. I’ve endeavored to depict the vividness of the moment when familiar things appear unfamiliar. It’s Dharma that I encountered while gazing into the darkness for a long time. Bodhidharma appeared to me like a boundary between dark and light, beautiful and ugly, life and death. In order to portray this peculiar saint, I’ve attempted to paint a portrait of a bad man made up of all the beautiful things of this world. This attempt led me to certain lights and colors for the first time in a long period of time and I began to draw trees. I was drawn more and more to trees. This Pennsylvania to which I moved last winter is abundant in trees of all kinds, as the place name “Penn’s Trees” may suggest. One can easily look down from an average two-story house standing along a gradually sloping hill, at tall trees forming forests. One can have a grand view of the trees standing in an endless line along the Delaware River. As one drives along the riverside, sunlight glitters dazzlingly over the shadows of trees covering the road. The way the trees along the road dance to the glittering beat twirling their arms and bodies reminds me of the ecstatic rituals performed by thousands of shamans together. There are many trees in the house where I live. While I cross the yard from the rooms where I stay and walk to the main building, I frequently stop to look up at the trees. The more I look at the trees, the more I get excited. I’m even mystified by their life force which has survived ages, not to mention the beauty of their variegated lines and curves. Besides, as I look at the trees which stand in grandeur revealing their whole careers, I come to think of the passage of time.

Exactly. Each of the Dharma trees is a narrative, alive and breathing. Where could there be a narrative more sacred than human life? Man is a narrative, and the tree resembling man is a narrative, too. Some of the Dharma trees send out ecstatic colours reminiscent of Nirvana. Each tree is a cosmos in itself. Man, birds and insects live there.The Dharma tree offers the only place where one could lounge comfortably in the vast spaces of the cosmos. There are no buldings, autmobiles or computers in the spaces surrounding Park’s Dharma trees. Only a single Dharma tree stands like the one and only god. The Dharma trees ceaselessly shake and sway with light or wind, myriad small branches spread out into space like nerve cells as if communicating with someone out there. It looks as if the Dharma tree will look differently tomorrow. Their forms will not be fixed anyway. The ramifications of Park’s Bodhodharma trees are due partly to the fact that the blueprints of his works are not that simple. They are not fixed trees but mobile. The majority of Dharma trees are made of branches rather than leaves, thereby giving the viewer a look of solidity and trustworthiness, and a posture of a seeker after truth. Bodhidharma is the tree, and the tree is Bodhidharma. If one looks at the work for a long time, one is made to feel like an enlightened one identifying himself with the tree. This is characteristic of the Dharma trees Park has created. In other words, Dharma trees are so huge that man and birds and such are dwarfed and almost invisible nestling in the trees. I gather that here Park hints at the grace and lesson offered by the tree, or else the identity between the tree (nature) and man or bird. One finally comes to realize that the world Park pursues is a world where man and nature merge. And that’s great.

The Dharma tree is a tree Park has created for the first time in the world. Park and the Dharma tree are not two separate entities but one – identical to us, and to myself, who looks at it. I realize again that the whole universe exists within the Dharma tree, nature’s reason or dispensation is nothing other than the present moment of my existence. As I leave the exhibition hall, I feel that, if we have the necessary worldly wisdom to live with a Dharma tree, it will be a happy life indeed. If winter comes, spring cannot be far away. So the spring will arrive shortly letting buds sprout over the Dharma tree.

Written by jinopark

March 22, 2010 at 12:49 pm

Posted in Dharma Tree

귀가

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집에 돌아왔습니다.
짧은 기간 동안 참 많은 일을 겪었습니다.
힘든 일도 있었지만, 대체로 좋은 일이었습니다.
무엇보다도 제 작품을 사랑하시는 분들을 많이 만나게 된 것이 가장 큰 즐거움이었습니다.
이제 완연한 봄입니다.
이곳의 나무들은 물이 오를대로 올라 당장이라도 싹을 내려는 듯, 가지가 꿈틀 꿈틀 움직이는 듯이 보입니다. 사방이 빛으로 가득차, 포근하고 뿌듯한 봄기운이 전해져 옵니다.
이제 달마나무에도 꽃봉오리 맺힐때가 되었나 봅니다.
모든 분들께 감사드립니다.

지노

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March 20, 2010 at 2:17 am

Posted in Uncategorized

지노 개인전 – 달마나무

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초대합니다.
3월 3일 부터 3월 17일 까지
갤러리 피그에서 제 개인전을 엽니다.
오프닝 리셉션은 3월 3일 6시 입니다.
장소는
135-517
서울 강남구 청담동 93-11 KOON빌딩 B1 갤러리피그
문의전화는
02 545 7082 입니다.
전시와 관련 된 글이나 이미지를 보시려면
여기를 클릭하십시요.

Written by jinopark

March 19, 2010 at 8:15 pm

Posted in Dharma Tree