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拍品專文
By condensing the past and the present into integrated fragments, Kim Bo Min expressed her idea in the form of an inspirational painting, harmonically merging the ideas of the ancient literati with the architectural environment of the modern world.
Modern regions of Korea are recreated in traditional aesthetics with Kim's synthesis of topographical accuracy and oriental painting's fluidity. The ochre tone of Korean ink emanates static mountain scenery in Map of Gahoe (Lot 1243)as she assumes an aerial perspective where single point perspective creates a sense of spatial dislocation. The grid of architectures populates over the mountain like a detailed puzzle to form its larger landscape, distancing the viewer again with its mute and isolated ambiance. The black plastic tapes define the rigid structure of the buildings to disturb the sinuous gradations of ink, premeditated in Kim's intention to situate the audience in between past and present to escalate the sensation of displacement. Continuing to employ one point perspective and vanishing points, the muted serenity of ink painting is also present in Yanghwa Waterfall (Lot 1244) as the highway is void of bustling cars and humans. The lyrically repetitive diagonal angles amplify this motionless landscape as Kim neatly forms triangular outlines of buildings, mountains and highway. The effect of ink-wash in oriental paintings, and its use of lines for spatial delineation are augmented in this work to gain new philosophy as Kim strives to balance between ideal and reality; past and present by inviting the viewer to travel through time in her creation, to observe the past afresh, grasp the present and look forward into the future, and to finally realize that the advancement of the modern world can coexist with the splendor of the past.
Modern regions of Korea are recreated in traditional aesthetics with Kim's synthesis of topographical accuracy and oriental painting's fluidity. The ochre tone of Korean ink emanates static mountain scenery in Map of Gahoe (Lot 1243)as she assumes an aerial perspective where single point perspective creates a sense of spatial dislocation. The grid of architectures populates over the mountain like a detailed puzzle to form its larger landscape, distancing the viewer again with its mute and isolated ambiance. The black plastic tapes define the rigid structure of the buildings to disturb the sinuous gradations of ink, premeditated in Kim's intention to situate the audience in between past and present to escalate the sensation of displacement. Continuing to employ one point perspective and vanishing points, the muted serenity of ink painting is also present in Yanghwa Waterfall (Lot 1244) as the highway is void of bustling cars and humans. The lyrically repetitive diagonal angles amplify this motionless landscape as Kim neatly forms triangular outlines of buildings, mountains and highway. The effect of ink-wash in oriental paintings, and its use of lines for spatial delineation are augmented in this work to gain new philosophy as Kim strives to balance between ideal and reality; past and present by inviting the viewer to travel through time in her creation, to observe the past afresh, grasp the present and look forward into the future, and to finally realize that the advancement of the modern world can coexist with the splendor of the past.