User:Do Hyundai

1. Name 신성희, Shin Sung Hy, 申成熙 Revised Romanization: Sin Sung Hy, McCune-Reischauer: Shin Sung Hy, Korean

2. Life Shin Sung Hy was born in Ansan Gyeonggido, Korea in 1948. He was a painter and known for his pictorial expressions with vivid and various colors and rich textures. Shin Sung Hy once spoke out his heart hat the canvas was “a place for confession and a house of prayer” and the cube was “a shrine where I could confess myself”.

3. Biography Shin Sung Hy was born in Ansan, Gyeonggido, Korea in 1948. His visual expressions started at Seoul Art High School, then attended Hongik University in Seoul majoring in painting. In 1980 he left for Paris, there he suspended the solemn monochrome paintings that used jute and moved forward towards works where canvas fabrics were painted and cut in a narrow shape, affixed to or weaved into the canvas. It was a change that put his previous practice of calm and classical paintings that used jute into suspicion. After all the endeavors that he had made led him to reward The 2nd Korean Art Grand-Prix Exhibition, Special Award in 1971, The 18th Korean National Art Exhibition, Special Award in 1969, and The Korean Young Artists Prize, Grand Prize in 1968. He died on 17th of October, 2009.

4. Artworks. Shin Sung Hy’s notable series are “the hyperrealistic monochrome painting featuring gunny cloth painted on gunny clot”, “the collage work” he did in Paris, ”Solution of Continuity (Solution de Continuité”, “the nouage work” and ‘objet’.

① Painting If there is a singular motif that penetrates Shin Sung Hy’s oeuvre, it is the image of a window. However, the fact that the window has been the foundation of Shin’s oeuvre that spanned his entire artistic career has not been paid much attention. (1974), a painting created before Shin started working with jute, a shows a small door securely fashioned with a lock. Painted in a manner that is closed to that of monochrome paintings, it reveals a situation in which the artist seeks an exit. In an essay that reflected on the period in which he created , Shin noted “ I put emphasis on the question of the place before the question of what to before the question of what to bring to the canvas. It is because what I usually want to bring is a three-dimensional figure while the place it will be put on is a two-dimensional surface such as a canvas or a sheet of paper, and I have to solve the problem of how these two contradictory concepts can exist in harmony”. Although this seems to be a usual remark by an artist, the fact that Shin understood the canvas as a ‘place; and used an expression that he ‘bring[s]’ a three-dimensional figure on it means that he recognized his task as a process of producing solid ‘construction’. Such determination of direction was clearly realized task as a process of producing solid ‘construction’. Such determination of direction was clearly realized in the works that followed. However, Shin chose to work on hyperrealistic monochrome paintings that explored the relationship between the canvas made of coarse jute and paints cumulated on its surface, given the situation at the time when the monochrome painting was a general artistic trend.

② The hyperrealistic monochrome painting featuring gunny cloths painted on gunny cloths (after 1975) Since his gunny work in 1975, Shin began his pictorial journey in earliest. His gunny work is to use gunny cloth in lieu of a canvas on which he painted the image of gunny cloth. It is work of inquiring into any subtle ontological difference between reality and illusion through the coexistence of real gunny cloth and illusory “painting of gunny cloth”. Shin hyperrealisticaly depicted he weft and warp of gunny cloth and its shade on gunny cloth as if appropriating the mechanism of a weaver’s labor, displaying the unification and a relation between the ground and the images through an elaborate illustration of each strand of gunny cloth. In terms of technique, his gunny cloth painting is closely bound up with hyperrealism that was pervasive in the Korean art scene in the late 1970’s. In order to reenact the precision of shape of the linen and its shade effect and texture itself, Shin Sung Hy applied at least three brushstrokes for each strand. Unlike bold abstract expressionist paintings created by rough, spontaneous strokes or geometric abstract paintings in mechanical designs, these paintings, which are created by repetitive brushstrokes evocative of the manual labor of a weaver, require the technical skill of painting.

③ The collage work Shin went to Paris in 1980. From 1983 he embarked on pasting colored cardboard pieces on a transparent acrylic plate and produced collage works in which a cardboard itself becomes the ground. This work is putting cardboard pieces smeared with color paints together after tearing it into pieces as if weaving a straw mat. Although Shin achieved his aspirations for color through collage work, what’s really significant problem of modeling was associated with the surface and frame of a painting. When putting cardboard pieces together, some empty parts that look like holes arise. These hole-like parts work as an actual physical space.

④ ‘Solution of Continuity (Solution de Continuité) After collage work from around 1990,. He more widely opened the possibility of merging plane with solid. Solution of Continuity he produced from the early 1990’s started from tearing the canvas painters have seen as an absolute space. He first painted on canvas cloth and then cut this into narrow, long color strips of 1-3cm. If stitching he color strips to face each other, they soar from the ground, generating a dim shadow. The shadow was a modeling element through which Shin attained “painting-space”, transcending two-dimensional space.

⑤ The nouage work His nouage work is a natural extension of stitching. Nuage, is a French word, means weaving or connecting, and it stands out the artist’s method in the series that imply collage. The meaning of collage in his artworks signifies anti-painting or his perception toward new aesthetic concept. This new concept contextualizes de-constructivist method of cutting canvas into numerous pieces and putting or weaving them together to rebuild a new canvas. Among his series “nuage” is the culmination of Shin Sung Hy’s creativity that had flourished with his maximalist aesthetics resulting from his post-minimalist experimentations. Beyond the personal artistic achievement, “nuage” has art historical value due to its timeless and by being an exemplary post-minimalist painting after monochrome minimalist paintings, and more precisely within the context of the pictorial innovation that it had replaced painting with weaving.

⑥ Objet Shin’s objects works are mostly in the form of a bird’s nest. He actually made Self-portrait, a work made of round wire mesh treated in “nouage” (binding, fastening, and connecting), with a brush, paint knife, and scissors hung on their edge, and a mirror.

As such endeavors show, the artist had been contemplating the new dimension and possibility beyond a canvas. Shin Sung-hy’s practice questions the two-dimensionality of painting and the viewer’s perception of the painted surface. Since freed from a plane, we breath; the surface becomes a matiere, essences of painting become a volume and form. The very core of his art is an elemental question concerning the nature of painting, new challenges and his pursuit of “painting that transcends its limitation”.

5. Exhibition history

Selected Solo Exhibitions 2016	Shin Sung Hy: The Surface and Behind, Gallery Hyundai, Seoul Shin, Sung Hy, Before Nouage, Space K, Daegu De La Figuration Textile Aux Nouages Paris de 1980 a’2009, Baudoin Lebon, Paris, France 2015	Shin Sung Hy, Danwon Art Museum, Ansan 2014	Space of Nouage, Light of Life Church, Gapyung 2013	Galerie Proarta, Zurich, Switzerland Maison de Elsa Aragon, Yvelines, France Shin Sung Hy, Gallery Date, Busan 2012	Shin Sung Hy, Shinsegae Art Wall Gallery, Seoul; Busan Yvelines Art Center, Yvelines, France 2011	Shin Sung Hy, Atelier 705, Seoul 2010	Shin Sung Hy, Gallery Hyundai, Seoul Shin Sung Hy, Centum City Shinsegae Gallery, Busan, Korea 2009	Gallery Proarta, Zurich, Switzerland 2008	Sung-Hy Shin, Leonard Hutton Galleries, New York, U.S.A 2006	Gallery Proarta, Zurich, Switzerland 2005	Shin Sung Hy, Gallery Hyundai, Seoul Château des Bouillants, Dammarie-les-Lys, France 2004	BIBI Space, Daejeon 2003	Gallery Proarta, Zurich, Switzerland Le Moulin de Lambourary, Chartres, France 2002	INAX Gallery, Tokyo, Japan Andrew Shire Gallery, Los Angeles, USA Gallery Mill, Gimpo 2001	Suka Art Space, Busan, Korea Gallery Hyundai, Seoul, Korea 2000	Gallery Proarta, Zurich, Switzerland Gallery Baudoin Lebon, Paris, France 1999	Andrew Shire Gallery, Los Angeles, USA 1998	Gallery Convergence, Nantes, France 1997	Baudoin Lebon, Paris, France 1995	Gallery Shinsegae Hyundai Art Gallery, Seoul, Korea 1994	Gallery Hyundai, Seoul, Korea 1993	Sigma Gallery, New York, USA 1992	Kongkan Gallery, Busan, Korea 1988	Gallery Hyundai, Seoul, Korea National Museum of Modern and Contemporary Art, Gwacheon, Korea 1985	Gallery Dong San Bang, Seoul, Korea 1983	Gallery Municipale d’Elancourt, Elancourt, France 1982	Gallery Samil, Los Angeles, U.S.A 1976	Gallery Seoul, Seoul, Korea

Selected Group Exhibitions 2015	Rhapsody in Ansan, Danwon Art Museum, Ansan Primus Sensus, Pont des Arts, Seoul Again 1970’ Daegu, S-space, Seoul Expressions and Gestures, SOMA Museum of Art, Seoul 2014	Wall, Collective Highlight, National Museum of Modern and Contemporary Art, Gwacheon, Korea 2011	Art Elysees, Baudoin Lebon, Paris, France 2010	Power of Gyeonggido, Gyeonggido Museum, Yongin 2009	Re-discovery, SOMA Museum of Art, Seoul Correspondances de l’âme, OECD, Paris, France Vide & Plenitude, Espace Commines, Paris, France 2007	Poetry in Motion, Galerie Beyeler, Basel, Switzerland 2006	Friendship Named Painting, Galerie Jean Fournier, Paris, France 2003	Age of Philosophy and Esthetics, National Museum of Modern and Contemporary Art, 	Gwacheon 2002	Sight and Language, Elancourt, France Collective Exhibition, Busan Museum of Modern Art, Busan Football through Art, Gallery Hyundai, Seoul The Korean Culture Viewed by Light and Color, Seoul Museum of Art, Seoul, Korea Aichi prefectural Museum of Art, ATC Museum, lwate Museum, Japan 2001	Tradition and Innovation l, Korean Cultural Center, Berlin; Kronberg, Germany 2000	30th Anniversary, Gallery Hyundai, Seoul 1999	Habanos 2000, International Exhibition, Barcelona, Paris, France Reflection of Korea: 12 Contemporary Artistes, Korean Embassy, Paris, France 1998	Asian Avant-Garde, Christie’s, London, U.K.	80 Artists Around the World, Enrico Navarra Gallery, Paris, France 1995	Seoul-Paris, Convent des Cordeliers, Paris, France 1994	Whanki and the Young Artists, Whanki Museum Seoul ‘94 Korea Art Light and Color, Ho-Am Art Museum, Seoul 1992	Korean Contemporary Painting, Nichido Museum, Ibaraki, Japan 1991	Meet the International Art and Music, Riadem Art Festival, Montigny, France Inauguration Exhibition, Artsonje Museum, Kyeongju, Korea 1990	Whanki Foundation, Gallery Dintenfas, New York, USA 1988	Olympiad of Art: The International Contemporary Painting, The International Contemporary Painting, The National Museum of Modern and Contemporary Art, Gwacheon Modernism in Korean Contemporary Art Scene: 1970-1979, Hyundai Department Store Gallery, Seoul Inaugural Exhibition of Total Museum, Total Museum, Seoul 1987	UNESCO 40 Years Anniversary Exhibition, Walker Hill Art Center, Seoul, Korea; Travelled to France, Russia, Thailand Inauguration Exhibition of Gallery Hyundai, Gallery Hyundai, Seoul, Korea 1986	Seoul-Paris, National Center of Visual Arts, Paris, France Korean Art Today, National Museum of Modern and Contemporary Art, Gwacheon, Korea 1984	Sight and Language, Westbeth Artists Community Gallery, New York, U.S.A 1983	The 39th Salon de Mai, Espace Pierre Cardin, Paris, France Korean Contemporary Arts of the 70s Exhibition, Travelled to Tokyo Museum of Art; Tochigi Municipal Museum of Art; Fukuoka City Museum, Fukuoka, Japan 1982	60 Korean Artists Working Abroad, National Museum of Modern and Contemporary Art, Seoul, Korea The 23nd Salon des Grands et Jeunes d’Aujourd’hui, Grand Palais Museum, Paris, France 3 Painter Exhibition, Myungdong Gallery, Seoul 1981	The 22nd Salon des Grands et Jeunes d’Aujourd’hui, Grand Palais Museum, Paris, France 1980	The 21st Salon des Grands et Jeunes d’Aujourd’hui, Grand Palais Museum, Paris, France Kim Whanki and Young Artists, Whanki Foundation, Paris, France 1978	Exhibition of the Asia Modern Arts, Tokyo, Japan Korea: The Trend for the Past 20 years of Contemporary Arts, National Museum of Modern and Contemporary Art, Seoul The 6th Independents, National Museum of Modern and Contemporary Art, Seoul 1977	The 3rd École de Seoul, National Museum of Modern and Contemporary Art, Seoul The 3rd Seoul Contemporary Art Festival, Seoul Contemporary Art Festival, Taipei, Taiwan The 4th India Triennale, New Delhi, India 1976	Exhibition of the Asia Modern Arts, Tokyo Metropolitan Art Museum, Tokyo, Japan The 2nd Ecole de Seoul, National Museum of Modern and Contemporary Art, Seoul, Korea The 3rd Group-X Exhibition, Seoul, Korea The 2nd Seoul Contemporary Art Festival, National Museum of Modern and Contemporary Art, Seoul, Korea The 4th Independents, National Museum of Modern and Contemporary Art, Seoul, Korea 1975	The 13th Sao Paulo Biennale, Sao Paulo, Brazil The 1st Seoul Contemporary Art Festival, National Museum of Modern and Contemporary Art, Seoul, Korea The 3rd Independents, National Museum of Modern and Contemporary Art, Seoul, Korea The 2nd Group-X Exhibition, Seoul, Korea 1974	The 1st Seoul Biennale, National Museum of Modern and Contemporary Art, Seoul, Korea The 1st Daegu Contemporary Art Festival, Daegu, Korea 1973	Exhibition of the 20th Age Modern Artist’s Association, Seoul, Korea The 2nd Independents, National Museum of Modern and Contemporary Art, Seoul, Korea 1972	The 1st Independents, National Museum of Modern and Contemporary Art, Seoul, Korea 1971	The 2nd Korean Art Grand-Prix Exhibition, National Museum of Modern and Contemporary Art, Seoul Group-X Founding Exhibition, Seoul 1970	The 19th Korean National Art Exhibition, National Museum of Modern and Contemporary Art, Seoul 1969	Mention Speciale l’exposition Nationale des Beaux-Arts, Musee National d’art Moderne, Seoul

6. Selected Collections Busan Museum of Modern Art, Busan, Korea Daegu Art Museum, Daegu, Korea Daejeon Museum of Art, Daejeon, Korea Gyeonggi Museum of Modern Art, Yongin, Korea Hanlim Museum, Daejeon, Korea Hansol Cultural Foundation, Seoul, Korea Ho-Am Art Museum, Seoul, Korea Kumho Museum of Art, Seoul, Korea Museum SAN, Wonju, Korea Moulin Art Center, France National Museum of Modern and Contemporary Art, Gwacheon, Korea National Foundation for Contemporary Art [FNAC], France OCI Museum of Art, Seoul, Korea Seoul Museum of Art, Seoul, Korea SOMA Museum, Seoul, Korea UNESCO, Belgium Whanki Museum, Seoul, Korea Wooyang Museum of Contemporary Art, Gyeongju, Korea

7. Awards 1971	The 2nd Korean Art Grand-Prix Exhibition, Special Award 1969	The 18th Korean National Art Exhibition, Special Award 1968	The Korean Young Artists Prize, Grand Prize

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