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His paintings are crude and coarse. Words of embellishment and supplement are not allowed for these images. They are primitive, like an enormous … Read More
His paintings are crude and coarse. Words of embellishment and supplement are not allowed for these images. They are primitive, like an enormous molecule shrinking for an instant only to explode immediately, escaping the conventional mold in which paintings are often casted in, and approaching us as a conglomerate of chaotic and unidentifiable energy. His main subject is rumination of his own memory, specifically the nameless strangers perambulating amongst. These are his words. “There are just as many ways of seeing and understanding as the number of humans in this world. Likewise, I paint to express my personal and subjective response to each object.” Under formal analysis, his portraits traverse the figurative and the abstract. His works are formed from instinct, not with underlying calculations. Contrary to his statement, “I add logic and judgment to the mixture of reason and sentiment”, his paintings are, in fact, rather marks of an upheaval - what Carl Gustav Jung had often referred to as primitive image – during which the subconscious manifests. His artworks accentuate feverous subconscious rather than cold logic, and therefore the process of “capturing none but the dynamic tension between emotion and reason” is rooted in primordial intuition yet to become coherent thoughts. His argument, “the outcome of this process is a visually rich surface, painting”, is finally completed. The result, what we witness, is his veracious vernacular. Jaeyeol Han received Bachelor of Fine Arts from Suwon University, and has since held two solo exhibits including the latest one at Gahoedong 60. He also participated in a number of group exhibits, receiving Award of Excellence from Seoul Digital University earlier this year in March. Read Less
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  His paintings are crude and coarse. Words of embellishment and supplement are not allowed for these images. They are primitive, like an enormous molecule shrinking for an instant only to explode immediately, escaping the conventional mold in which paintings are often casted in, and approaching us as a conglomerate of chaotic and unidentifiable energy.
 
 His main subject is rumination of his own memory, specifically the nameless strangers perambulating amongst. These are his words. “There are just as many ways of seeing and understanding as the number of humans in this world. Likewise, I paint to express my personal and subjective response to each object.”
 
 Under formal analysis, his portraits traverse the figurative and the abstract. His works are formed from instinct, not with underlying calculations. Contrary to his statement, “I add logic and judgment to the mixture of reason and sentiment”, his paintings are, in fact, rather marks of an upheaval - what Carl Gustav Jung had often referred to as primitive image – during which the subconscious manifests.

 His artworks accentuate feverous subconscious rather than cold logic, and therefore the process of “capturing none but the dynamic tension between emotion and reason” is rooted in primordial intuition yet to become  coherent thoughts. His argument, “the outcome of this process is a visually rich surface, painting”, is finally completed. The result, what we witness, is his veracious vernacular.
 
Jaeyeol Han
urgonnabeok@gmail.com
 
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