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Top : Sculpture : Chung, Kwan-Mo


Chung, Kwan-Mo

 ▶ Chung, Kwan-Mo Homepage ▶ Critique ▶ Artist's comment  



 

BIOGRAPHY


1937 born in Taejeon
1956 graduated from Kongju High School
1964 graduated from Plastic Arts Department at Hongik University
1967 graduated from Fine Arts Department Hongik Graduate School
1972 graduated from Cranbrook Academy of Arts in the major of Sculpture
1994 honorary doctor of ELon college



professor of Sungshin Women's University
(director of Plastic Arts Department, director of Crafts Department, Chief editor of school Newspaper, president of Industrial Graduate School, president of Fine Arts College and chief of Directing Part in the past)
Delegation of Shincheonji Art museum in Cheju Sculpture park
operating member and judge of contest
invited artist and judge of National Exhibition
operating member and judge of Art Contest
operating member and judge of Joongang Art Contest, Moodeung Art Festival, Donga Art Festival, Choongnam Art Contest, Choongbut Art Contest, Cheju Art Contest, University Art Contest, Youth Art Contest and other kinds of contest in the past.


the chief director of Korea Art Association, Vice president of Art Association, member of Seoul Art, deliberation judge of Literary Art Promotion, advisory member of Ministry of Culture Information, Promotion member for establishment of Independent Museum, Special member Seoul Olympics, advisory member of National Contemporary Art Museum and Art Hall in the past
1974 set up Korea Youth Artist's Association
1987 set up Shincheonji Art Museum in Cheju Sculpture Park


1966 Prize of Ministry of Culture and Education, National Art Contest
1974 Prize of Ministry of Culture Information, Art Association Contest
1993 Prize of Ministry of Education.
1994 Prize of for Arts, Art Association.


"Jeong Kwan-mo 1977-1997" (1997. Shincheonju Art Museum)


1966 Central Information Hall, Seoul
1967 Newspaper Hall, Seoul
1969 Jefferson Art Gallery, Philadelphia
1969 Okden Naple Gallery, Philadelphia
1971 Newak Gallery, Dallaware
1971 Jefferson Art Gallery, Philadelphia
1971 Eastern Baptist College. Voltimore
1972 Artemis East Gallery, New York
1973 Myoungdong Gallery, Seoul
1976 Art Hall, Seoul
1977 Hall For Youth Artists, Seoul
1978 Hall For Youth Artists, Seoul
1980 Exhibition Space, Cheju
1981 Art Hall, Seoul
1982 Soo Gallery, Taegu
1983 Korea Culture Center in New York
1984 Dongin Art Museum, Cheju
1990 Art Hall, Seoul
1994 Shincheonji Art Museum, Chdju
1996 Kongju Literary & Art Hall, Kongju
1996 Cheju Literary & Art Hall, Cheju
1997 Art Hall, Seoul
1997 Jin Gallery, Seoul
1999 Sungshin women's University, Seoul


1988 Worldwide Contemporary Art Festival (National Contemporary Art Museum, Seoul)
entered many other domestic and abroad Group Exhibitions
- about 260 times


The Korea Tobacco and Gingseng Corporation in Shintanjin, Sansung Insurance Company in the entrance of Euljiro, Lotte Department Store, Lotte World in Jamshil, Jinol Distribution Company in Kangnam, Heed office of Choheung Bank in Youeuido, Trade Center in Jamsil, Dongwang Chemical Company in SoKongdong, Shincheonju Art Museum in Cheju, Cheju Newspaper Company, Choongnam University, Taeyoung Building in Youeuido, Assemblyman's Hall in Youeuido, Monument for Janbogo in China, Bressing monument for Unification in Odoosan, Central Library in Ulsan University, Keumsung Building in Koorogu, Export & Import Bank in Youeuido, Trust Bank in Jamsil Electronic Equipment Land in Yongsna, Samsung Insurance Company in pusan, Elon University, Samsung Insurance Company in Cheju and Forecast Bureau in Seoul


Glazed Tree as Monument (1980, Daewon Publishing Company)
Monumentality of Seated Tree (1988, Mijin Publishing Company)
Appearance of Consciousness-Representation (1994, Art Culture Publishing Company)
Dear my loving Jina (1995, Art Culture Publishing Company)

 



ART WORKS

※ Click on small image to see an enlarged version.

Glazed Tree as Monument (Samsung Insurance in Eulgiro)

 
Monumentality of Seated Tree (Shincheonji Art Museum)

 
Korea Fantasy (Sejong Culture Hall)

 

 

ARTIST'S COMMENT


After graduated Hongik University in 1964, I've been deeply attached to creating modern sculptures in the abstract expression category. I made some stone works on the long title of From Eager Desire to Resignation, From Resignation to the Meaning of Life and the wooden works on the title of Dispensation and the Meaning of Life. These works were the organic abstract sculptures and emphasized the essence, dignity, and value of life.
In 1974, I found a folk relic Yoonmok and I began to search for its modernity. Upon acquiring the successful result, I adopted other folk relics such as 'Namte', 'Jungjoomok', 'Badi', and 'Gumbak'. I applied my mothod to them and created the new works out of them. These works were extracted and maximized the symbolic and geometric elements of the old folk relics. Consequently I sublimated the works to the monumental scales.
In 1985, I abandoned the method of sticking to tangible shapes of each folk relic and attempted to diverse to the formative method of expressing images of things or incidents in ideological forms. The works were named Korea Fantasy. I uncovered the have honors and disgraces of modern Korean history between 1945 and 1988. I expressed them in a wood and bronze.
From 1990 to the present, I concerned about the consciousness and subconsciousness. I exposed the possible changes of predestination depend on the choices and attitudes. The works were metaphorically expressed through the depressed engraving patterns, symbols, or representation of the objects. The collaged objects were used.
My works have been transformed in the new oragnic forms, geometric forms. collaged objects. I used any materials those were suitable for my works such as stone, wood, and steel. The unified spirit flowing through my works was the problems of life and that was the essense and pursuit of the value in life. For the formative method, it was in quest of the expression of Korean nature. I would like to call it 'Koreanism'.

 

 

 

CRITIQUE


Chung, Kwan-Mo and His Works :
the Monumental Yoonmok


Chung, Kwan-Mo is an artist of stature and whose influence is dominated in Korea. His reputation lies mainly in that he has contributed considerably to the evolution of Korean modern sculpture and that he has played a key role in constantly expanding the artist's position and function in society.
His recent oeuvre is best understood by the new plastic concept unifying the westren matiere and technique, and the archetype image of Korean spiritual culture and sensitivity, which he has been developing in an effort to discover the porper method to express the ethnic ground of Korean sculpture. Exploring 'the uniquely Korean' content has been, as it were, the main concern in his works of the past eight years, the concern which has germinated during the period of his stay in the United States.
While studied and assimilated the characteristically western approach and method to experiment the new, he started to integrate his new experiences into his works that were essentially Korean in nature. Facing the both sides of global unity in the meantime, he felt a strong urge to bring forth the inner thoughts and sensitivity residing in his Korean spirit in the plastic expression of the contemporary western sculpture. In an excruciation search for the truly archetypal image of Korean spiritual culture, he was able to finally arrive at a highly personal, and at the same time, a uniquely Korean stylictic motif represented in modern technical terms. The word 'uniquely Korean' means not an ethnic distinction and identity as such, but a symbolic representation of artistic originality to him. In this sense, his artistic goal lies in achieving a sort of pantheistic unity which defies all the confines of ethnic limits and prejedices.

 

 

 

 

 

 

 

 

 

 

 

 

 

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