I-MYU Projects present their third exhibition since opening near Old Street towards the end of last year.
One thing I like about the I-MYU gallery is the quality of their press releases. For someone as unversed in art appreciation as me, their materials always seem both intelligent and intelligible, informative without being too high-brow, and they enhance the viewing of the works when you get to the gallery. So I make no apology for simply posting the press release verbatim.
FORGET ME NOT
1 February– 2 March 2008
Yeon Soo Ha / Bon-A Koo
Tuesday-Saturday 12-6pm or by appointment
IMYU-Projects is pleased to announce Forget Me Not, an exhibition by Korean artists Yeon Soo Ha and Bon-A Koo. The show takes its title from the name of a common flower whose name infers a history of romance and remembering. Drawing on romantic traditions, derived respectively from the natural and man-made world, Yeon Soo Ha and Bon-A Koo, present contemporary fictions of a classical order.
Yeon Soo Ha’s botanical paintings (above) are explorations of colour as much as they are of subject. Painted by applying dry pigment to absorbent paper, the traditional technique she uses combines stone powder with a porous Korean or bronze paper allowing the colour to completely infuse the surface. The works are informed by the writing of Kwakhee who has theorised on the role of colour within eastern painting, arguing that colours are not perceived as stable referents of an object, but moreover as informants of change, of a temporal and emotional charge, “The colour of water is green in spring, blue in summer, cobalt blue in autumn, and black in winter…” Yeon Soo Ha’s paintings present through layered and recurring motifs an intense and shifting kaleidoscope of colour that constantly alters our optical reception of the subject, and draws us to a continuing wonderment of nature.
In contrast Bon-A Koo (above) presents a world of man-made architectures. Painted on hand-made Korean paper the works depict derelict buildings and explore, through indirect references to the natural world, the romantic fictions of ancient and classical structures. The Korean paper used, intricately pressed from multiple rectangles of paper, plays into the formal construction of the brickwork drawn and painted on its surface. The reduced tonal ranges of the works are punctuated by occasional stains of colour, and are further activated by patterned textures of fauna and flowers that emerge, almost invisibly, within areas of painted stonework. Here nature is seen reclaiming its own space, and this reclamation extends through additional motifs of butterflies, whose symmetrical form and wing patterns become further layers of camouflage.
Do support this exhibition. The gallery deserves to thrive.
(automatically generated) Read LKL’s review of this event here.