Johyun Gallery Busan presents Lee Kwang-Ho’s solo exhibition, “Touch”, opening on September 2 until Ocbober 2. Lee, who has been gaining attention as a realism painter, is being introduced in Busan for the first time making this exhibition very meaningful for both the gallery and the artist himself. Total of 28 works will be showing, including the artist’s recent works, “Cactus” and “Landscape” series—reinterpretation of everyday objects speaking in his own creative language, exceeding basic reenactment of forms.
“Cactus” and “Landscape” series are continuation from his past “Inter-View” series, in which he painted 100 interviewees, showing the artist’s careful observation of his subject matter. Yet, the difference between Lee’s past works from recent two series is that before, he attempted to touch upon the interviewee’s inner side, and now, the artist has chosen an object, took a picture of it, and with observation and replication working in parallel, Lee attempted to show his own inner desire.
Lee Kwang-Ho’s “Touch” has innumerable brush strokes, traces of knives, and sometimes there are rubbing and tamping in the process. Through this series, the object becomes maximized until it turns into a kind of an abstract plane or lumps of color; cactuses that are unrealistically enlarged even seem ‘vulgar’ and ‘animalistic.’ Intensely and dramatically expressed objects not only expose the artist’s inner desire but also stimulate the observer’s visual and sensory nerves when looking at Lee Kwang-Ho’s paintings.
“Landscape” series, which is presented along side with “Cactus” series, has blurrily depicted the woods and skies and wind’s movements in between. The subjects within this particular series are empty spaces that can be commonly found in any parts of nature. Familiar sceneries that can be on television and in books disappear when observed closely—only countless brushstrokes, traces of knives, and layers of paints are visible. Just like the artist’s “Cactus”, his own way of expressing realistically yet abstract makes the landscapes unhurriedly moving, and we are faced with a lyrical scene that creates confusion of time and place.
His works are not photographical replica of objects, yet they are more like persistent observation of painting’s most fundamental essence—‘drawing’. Unlike hyper-realism’s typical reenactment, Lee Kwang Ho’s paintings show another realm of senses through touches of dynamic works that feel like they are real. Throughout this year’s autumn in Johyun Gallery Busan, Lee’s particular art world will be seen.
