Jung Yung-yul (1934 ~ 1988) is an artist who explored the identity of Korean abstract art through in-depth exploration of Korean subjects while developing experiments in various painting forms. The exhibition as an artist donation exhibition project on the occasion of the posthumous donation of jeongyoungryeol, abstraction has been prepared for this jeongyoungryeol to refocus the world’s accumulated lifetime Tues-up work he completed.
Jung Yung-yul is 1950, but started painting abstractions as young artists who participated in the exercise Informalism horse’s infatuation, 1970 Beginning’s, while giving a stylish and distance of the flower beds were themselves find their form. And he quest for the shape of the traditional art, one finally visualize Korea spirit world, deliberated on traditional ideas jeokmyeol thereby completing the series.
This process is a spiral writer bedding found in the self and the chaos, find a conversation topic and format of your own, and, shows the figure finally be set free from the painting itself. Like a person who has gone on a path of composition, the artist Jung Young-ryul has not been compromised or swept away, but has immersed himself into his world and finally established his own style and painting world.
This exhibition is whether what he saw the ‘Korean abstraction “Quest revisit who have a lifelong interest, will be an opportunity to illuminate in depth the development process.
Part 1. Road to Abstraction
Jung Yung-yul became interested in abstraction under the influence of the gangyongun Park, Young – Sun graduated from college in 1958 was engaged in full-scale production of abstraction year. 1960 In the early jeongyoungryeol is “evil ttwiel ‘in the country, ” contemporary artists meeting’, to develop abstract art group activities such as’ Korea’s formative jakgahoe “Meanwhile, the Paris Biennale, while participating in the International Art Festival, including the Sao Paulo Biennial International Abstract Actively absorbed the trend of art.
Jung Yung-yul, who has just stepped in as a painter, shows a serious attitude at that time to quickly digest the new Informel paintings while searching for the ones that suit him. 60 seconds’ s, the initial jeongyoungryeol who accept Informalism painting style has he continued to paint a rough and quick strokes showed a passionate display. Gradually, however, he began to search for his own temperament, such as geometric shapes such as circles or rhombuses, horizontal composition, and single hue. In 1967, with the entry into the Sao Paulo Biennale, Jung Young-ryul’s work entered a new phase of abstract painting by introducing bright colors and geometric patterns.
Part 2. ‘Finding Korean Classics (典籍)’
Entering the 1970s, Jung Yung-yul began to explore her own paintings by moving away from the work of Informel. At this time, as a kind of transition, the concrete images of Buddha and celadon appear for a while and then disappear. Instead, ‘entirely (典籍) ‘, ie reports (古書) is or visual exploration of color and depth of traditional vessels such as celadon made. ‘Whole’ means the root of tradition, and his attention is focused on expressing the depth and texture of tradition through the expression of light inherent in the color of Goryeo celadon. And finally, works completed the abstract display of cold in the series full of swaying saekseon wave undulating Op Art Department.
This time the left Jung Yung-yul works series is ‘Korean traditional collateral’ of subject matter, it will be a while, and the tendency of the spirit of abstraction going Informalism wilt moved to geometric abstraction and optical art correspondence with each other deployed. After this process, Jung Yeong-yul establishes the foundation to move away from the international fashion and move to the independent world.
Part 3. “Reaching Nirvana (寂滅)’
In the late 1970s, Jung Yung-yul began to show her new series, Destruction. ‘Destruction’ is a Buddhist term meaning death, nirvana. But in jeongyoungryeol work ‘jeokmyeol “beyond the limited meaning of Buddhism, which has an extended meaning is the one that works the artist is freed from work through it.
Westernized of Jung Yung-yul jeokmyeol series is works Illusion of the screen, as in the series (illusion) was developed as an extension of the work to express. The works are led round densely, or the shape of a square that has created an image that fills the vibration filled the screen. One day tones and images that are constantly repeated lines (Zen) bomjik felt a slight wave in the state and the movements of the spirit, or any other rhyme (音律) reminds the world.
Jung Yung-yul series is oriental mentality that symbolizes the liberation from all suffering, showing the gentle and rhyme content and configuration, shows the original works are completed, etc. jeongyoungryeol highly sophisticated and understated type best.
Part 4. Re-opening New Ways.
Since the early 1980s, the interest in paper work has been heightened by the combination of exploration of new materials and the Korean culture of Korean paper. Jeongyoungryeol also working on canvas jeokmyeol The production of the series, was attempting to paper work with after.
Jung Yung-yul’s paper work started from painting oil on rapeseed paper, but gradually developed into the theme of the physical properties of Doc, the raw material of paper, and the shape of the finished paper itself. The early work went through various experiments, such as the expression of illusion through drawing and the irregularities through paper casting, and finally completed an entirely different work from the oil painting work by constructing the organic and soft screen of the paper itself.
In particular, the works of his later years, which were produced during the struggle against illness, since 1985, have been expanded to a more free and infinite space. His paper work has created a rough, primitive texture through activities such as scraping chewing Knock squeezing the raw material is shut, the results show a deep inner spirit and a more uplifting energy.
The National Museum of Contemporary Art, Deoksugung, Korea
Deoksugung Palace opened in 1998 in Deoksugung Palace, the first modern stone condition in Korea, to systematically form and develop the modern art of Korea and ultimately to realize the cultural identity of our nation.
Deoksugung Palace’s Stone Building, which houses the museum, is a representative building of modern Korean architecture, completed in 1938.
Deoksugung is a modern arts organization that focuses on modern art from Korea and Asia from the 1900s to 1960s, as well as the world.
We conduct various projects such as research, research on modern art, exhibitions and collections related to modern art, development and operation of various educational programs, academic activities and publications, and international exchange of information related to modern art.