Jinwook Yeom

Biography

While refusing the use of a fixed viewpoint, artist Jinwook Yeom expresses her intention of rejection in her series of forest-painting. In her painting, brush strokes are visualized in monochrome patterns, and the prevalent monochrome images structure the canvas. The gaze moves along the monotone fluently and dynamically. Thus you can read the images of the forest-painting at your will from the sky to the earth or from top to bottom. The tone fading from the mountain top to the ridges receding endlessly is flowing. The artist replaces the nature of painting that is essentially executed on the flat surface with the structure of the forest, and adjusts it in dark tone. Such structure of the canvas as hers tends to surpass landscape painting as a modern and contemporary genre and to be disparate from local landscape painting at home and abroad. The canvas structure exclusively built up with colors and brush strokes is featured in dark or bright monotone, rendering the structure of the forest-painting diverse. Let us read the painting. The center of the canvas splitting left and right and stretching out. The image winding across the canvas from the left top toward the right bottom. Dark sides beginning from the bottom getting slowly brightened through layering. Dark sides of the bottom flowing into the darkness along the free-ranging line. Contemplating the structure of the forest-painting is also dynamic as well as unrestricted. It is not about rejecting the one-dimensional quality of painting but about how to read the image of the forest. You can freely follow the images structured on the large rectangular canvas ―extending out across the canvas like erupting volcanoes, or extending from side to side along the rainbow rising from the top right side, or crossing the upper part of the canvas and extending to the left and the right. The images even happen to disappear out of the canvas.