My paintings are essentially representational but I also want them to take the viewer further. I want the paintings to present more than an image of a familiar place or object but also to take you to a time you once knew or feel reminded of. I like the paintings to create a narrative. They are all about man made structures and mans interaction with them but I remove all human representations to allow the viewer to find their own narrative.
This is the East arm of the entrance to Whitby harbour (featured above) I have a particular soft spot for this painting as I live just down the road from Whitby. It was also important to paint it at this time because its sister pier (west pier) had had its connecting bridge closed and the council were not planning to repair it. This would have meant that both piers would be completely unaccessable. Fortunately there was a successful local campaign and it was repaired. This painting therefore emphasises the lonely detached nature of the East pier with its boney remnants of what once linked it to the land. It now looks as though it might bob off into the North sea. More
Hyunjeong Lim, born in Busan, South Korea, 1987. She has studied at Seoul National University, South Korea and Central Saint Martins, London. She currently lives in Busan.
Do you come from a creative family?
Actually, I’m the first and only artist from my family, both father’s and mother’s side. Though my parents are very supportive of me.
How did art school help, if at all, in the development of your practice?
I graduated Busan Art High school in my hometown, where I earned most of my drawing and painting skills that I use for my current practice. Back then, I didn’t think that I would become an artist but I could improve a standard of draftsmanship under the system of entering Korean art universities. After, I studied at the Seoul National University then at the Central Saint Martins, experiencing the art world bit by bit.
How did you find studying in London?
Although surviving in London was extremely expensive, spending part of my life in London as a student and an artist was certainly a the most valuable thing I’ve ever done. I just had so much fun by visiting all kinds of museums and art galleries in London. Becoming a museum goer has enormously inspired my practice and directly led me to research old western masters’ drawings and paintings. More
Here are some gallery shots of The Last Man exhibition at the James Freeman Gallery, along with some photos of the opening night. We had a great evening and would like to thank James Freeman, the artists involved and to everyone who came down. The show is on until the 2nd August 2014, so a few more weeks to check it out. More
Alongside the Liverpool biennial, every evening until July 27th, at a derelict building in the Toxteth district, an unused storefront shutter automatically opens at 10:00 pm. A beautiful glowing installation is revealed to unsuspecting passers-byes of a stunning, luminous tank filled with living, floating jellyfish. Created by artists Walter Hugo & Zoniel, the piece will be live streamed from the jellyfish tank and shown on the exterior of the Gazelli Art House in London. (Via)
How did your time at Camberwell help in the development of your work?
I didn’t really go into college much to be honest and preferred working from my room or exploring London. Although I did meet a life long friend there who still influences me greatly.
The works appears to take inspiration from horror films such as Village of the Damned The Brood and The Innocents. Is this the case and if so could you talk about your interest in these films?
No this isn’t the case. I don’t really watch horror films. I have seen The Innocents and enjoyed it very much. I was interested in the introverted characters of the two children. I like the ambiguities in the film and the general disquieting atmosphere. More
28 June – 9 August 2014
Successful portraits resist description in a way that other types of picture do not. A portrait is something other than just an image. Simple images aspire to tautology; “I am what I depict” they insist. Portraits make the precise inverse of this claim. Portraits suffer from the ravages of their sitters’ old age and dissolute characters.
See these two black and white images of a man’s head, face-on and in profile. The expression is inscrutable; is it fear, anger, defiance, resignation? That his name, aliases, the nature of his crime and the date of his arrest are listed on the reverse is of no help.
The mugshot and the passport photo are the most straightforward, the most concise and accurate of portraits. They are intended only for the purposes of identification. They describe their subjects fully and simply, yet they cannot be fully and simply described themselves. The only way to make a portrait comprehensible is to dissect it, dismember it, reduce it to a collection of appendages and features; here are the eyes, here is an elbow… Sally Kindberg goes further; she has obliterated the face altogether. With cheese. More
Illustrator Ben May has just released his first book titled ‘Behind the Mask’, which brings together a collection of beautifully drawn masks from the movies, from the very recognizable and iconic to the more obscure and cult films. The book is presented as a game, with the reader guessing the character and their movie.. But as well as a great guessing game, ‘Behind the Mask’ shows us how a well designed mask can make the character, as well as the film, intrigue us, stick in our minds and sometimes haunt us. Take a look and put you film knowledge to the test.
Taking care of nature and looking after gardens are often mentioned with your work. Are you a gardener?
No. I reference the life and routine of gardeners in a group of works. The gardening process seems to be somewhere close to the process of life sometimes. And this was a starting point of thought, which developed into a painting concept.
On average, how long do you spend on a piece?
Usually it takes about one month if everything goes well, but a painting may be re-worked on after a while if necessary.
How important to you is selling your work for you to make more work?
All artists are always making new work, regardless. Exhibiting is important, because it is the only way that your work can relate to other people. When a painting is acquired by a collector, it’s a way to know it’s appreciated, it’s a great way to support the practice of an emerging artist, and it’s equally positive for the artwork itself, as in this way it takes an independent course. More
Neither solely abstract nor representational, the paintings I make could best be described as “figurative abstracts”. I aim to create paintings whose brush-strokes teeter between signalling some form of human activity or celestial body and dissolving into arbitrary painterliness. This concern also informs my actual painting process. I usually start off with a specific image in mind which then inevitably gets lost beneath layers of loose, intuitive brush-marks. In this way the original pictorial starting point becomes translated into a more personal and abstracted painterly language.
My paintings contain a certain sense of tension as they appear to be both spontaneous and highly considered. The modest size and round shape of the canvases is intended to convey a sense of delicacy and restraint and to give the paintings a jewel like, intimate quality. More
4th July – 2nd August 2014
Thursday 3 July, 6:30 – 8:30
The Art Circus is very pleased to announce our first curated group show in collaboration with the James freeman Gallery. Artists on show will include Vasilis Avramidis, Christopher Gee, Miguel Laino, Hyunjeong Lim, Mackie, Tom Shedden, Eleanor Watson.
Change is one of the few certainties in life. After death and taxes, the only thing we can be sure of is that nothing stays the same. As such, it begs the question: what happens when we’re no longer around?
Taking Mary Shelley’s apocalyptic novel The Last Man (1826) as its inspiration, this show explores the mysterious absence of humankind from the spaces they once inhabited. The ecological concerns of Shelley’s novel bring to mind: if mankind disappeared, would the natural world be free to reclaim what belonged to it? Visitors thereby get to take the place of Verney, The Last Man, in becoming the sole observer of an eerie lost world.
Seven painters come together to create this atmospheric exhibition. The unnerving images of Christopher Gee and Miguel Laino create a haunting, ominous presence, as if even before the disappearance there were clues, portents and signs. The paintings of Eleanor Watson and Mackie depict abandoned landscapes and structures like solitary markers, with empty rooms seen through external walls creating a sense of dereliction. In Vasilis Avramidis’s luscious works, green mossy hills emerge in the black of night from a subterraneous realm and morph into arms, fingers and heads. The Bosch-like theme is continued in Hyunjeong Lim’s drawings of twisted landscapes that depict a contemporary Golgotha through a cacophony of comic-book images. It is left to Tom Shedden’s paintings of an Elysian future to suggest a counterbalance of harmony with the new elements. More