▲ [newsbusan art] Kang Gyeong-Ho, Work 1990-2020 (Part of the work).

Works 1990-2020

Emulsions are closed images drawn by superposition, but photographs absorb light from those images.

Kang Gyeong-Ho's "work" eliminates tracks on the surface of oil paintings and photographic images that can alter images. Thus, he shows the actuality as the real of material, making the resulting image of the object unreadable.

The boundary line, which removes the density of the surface, reveals a sky blue background and white color to the ground surface. Another piece of surface on the surface constitutes a separate space that cannot be distinguished by the shape and color of the object.

Kang Gyeong-Ho tries to draw a cross-section of the shape that goes against perspective in the space viewed as the essence of the object. It is an impression of the city as a real thing, with no volume and no shading structure.

Like the back of an invisible photograph, it shows the real of a photograph that has become a cyber medium at the speed of light.

Photographs that follow media beyond time and space now recognize the existence of time, but do not stimulate the future.

He destroys exclusive artistry by damaging the back of the picture. And on another surface of the painting, the aesthetic value of the painting is created.

▲ [newsbusan ART] Kang Gyeong-Ho, ˝Work 1990-2020˝, Oil on Canvas & Photography, 200×170cm. 2020

In this way, Kang Gyeong-Ho objects symbolic ideas, creates symbolic icons, and expresses a direct interpretation of metapo in a linguistic sense expressed in an aesthetic sense that excludes the object's form.

In his paintings, the aesthetic structure of the painting's surface is the directness of color. He creates an island-like cityscape by creating a bright blue space and drawing a bright yellow sculpture inside it.

This is the appearance revealed as a direct perception in the ideological space of now, which cannot be returned to a space deviated from nature.

He divides the space into squares, triangles, and upside-down mountains, and lays it out wide in bright blue, matching and corresponding to each shape.

▲ Work 1990-2020 (Part of the work)

And it gains dual aesthetic value by uncovering the relationship between the textures in which the distorted structure of the surface is destroyed and the meaning structure with the city where the shade is separated from the boundary.

He says that the unit that shows the back of the picture and splits the surface of a harmonized aesthetic color to create fragmentary thoughts of the impression is in significant light, not in shape.

And he asks the real reason why time is stopped by conceptualizing the image into a language structure by allowing one subject to create another meaning of the image as a graphical structure of the image.

So he's seen as the surface color of a picture that doesn't reflect to balance the white unit exposed by light from side to side with the frame of the square frame. In the picture, the reason why it was carved into many pieces in an infinite space that stopped in time is covered with light.

The image revealed by the light is a semantic language. This refers to the practical meaning of the morphological images.

☞ Kang Gyeong-Ho : Artist, Cultural planner, Calligrapher, Individual Exhibition (2015, Busan City Hall), Beijing Art Fair, French Invitation Exhibition, KSDS International Invitation Exhibition, ACDAC (The Association Calligraphic Design Artists of Korea) Exhibition, BICAC Committee, NewsBusanART Committee.

Writer. an art critic; Chul-joo Choi (Doctor of Culture and Design)