As the Art Critic An So-yeon, so wellput it for Haru K’ show at the GMA Ha
Jung-woong Museum of Art « Haru. K collects images of natural scenes by sketching
and photographing them and then reconstructs them and other situations he has ex-
perienced based on his memories. At the same time, he prepared a basis for his ac-
counts which he likens to the process of potting plants or gleaning viewing stones.
He focused primarily on the juxtaposition of potted or reduced scenes by referring to
the gestures pertaining to such hobbies. In addition, he arranged images whose or-
namental effects were maximized by “editing” the landscapes he has experienced and
sketched in a way that is reminiscent of a lunch box made up of local specialties. He
disapproves of Oriental painting’s typicality, but this is perhaps related to his skepti-
cism about our perception of its form, not the actual form itself. Given his own playful
attitude, he probably feels inconvenienced by the need to maintain something formal
in traditional painting and the perceptual strictness by which the liberal imagination
cannot be set free, trapped in pictures.»
Jung-woong Museum of Art « Haru. K collects images of natural scenes by sketching
and photographing them and then reconstructs them and other situations he has ex-
perienced based on his memories. At the same time, he prepared a basis for his ac-
counts which he likens to the process of potting plants or gleaning viewing stones.
He focused primarily on the juxtaposition of potted or reduced scenes by referring to
the gestures pertaining to such hobbies. In addition, he arranged images whose or-
namental effects were maximized by “editing” the landscapes he has experienced and
sketched in a way that is reminiscent of a lunch box made up of local specialties. He
disapproves of Oriental painting’s typicality, but this is perhaps related to his skepti-
cism about our perception of its form, not the actual form itself. Given his own playful
attitude, he probably feels inconvenienced by the need to maintain something formal
in traditional painting and the perceptual strictness by which the liberal imagination
cannot be set free, trapped in pictures.»
