TOP STORY South Korean artist finds inspiration in southeastern Idaho’s landscapes

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강이경은2011년 서울대학교 미술대학에서 서양화를 전공, 2014년에 대학원을 수료 한후 도미하여 2017년에는 로드아일랜드 스쿨오브디자인 대학원을 졸업했다.

강이경은 한국중동미국에서 활동 하고있고현재 Idaho State University 에서 조교수로 재직중이다.

최근 2020 8월부터 10월까지 미국 라스베가스에 위치한 West Las Vegas Library Gallery에서 개인전 "Invented Landscape" 개최한바 있는 강이경은내년 7 서울 유아트 스페이스에서 개인전을 준비 하고 있다. 강이경 작가는 디지털 세계의 공간과 현실세계 사이의 겉으로 보이지 않는 공간을 재구성상상하면서 작업을 하고 있으며페인팅판화설치비디오  여러가지 매체를 다루고 있는것으로 주목 받고있다. 

 강이경 작가의 보다 자세한 정보는 에서 얻을 수 있다.


South Korean artist finds inspiration

      in southeastern Idaho's landscapes

Artist Statement Leekyung Kang

For the past few years, I have been obsessed with the structural framework and components that make up the urban landscape. My work has focused on exploring both exterior surfaces and interior infrastructure of the cities I have lived in, including architectural imagery of unfinished scaffold facades through mixed media. The goal of this work is to expose the unseen and hidden spaces by capturing the raw and unfinished state of our present environment. I seek to challenge the conventional understanding of space that focuses on physical state, history, and transformation. Recently, through the exploration of digitized surfaces, my perception and perspective of reality has been altered. When navigating the digital world, I often wonder what actually lies beneath the web cursor. The seamless surface does not reveal the infrastructure of the hidden space, nor can one see the materiality and responses of data components in “real time.” As one continues to explore this vacuum, these imaginations go beyond the surface, hidden in a layered matrix accumulated with spider webs of endless history, time, space, and transition. Computer projections contain layered evidence of the randomness of our internet presence. In my work, I attempt to excavate each layer and explore the unseen space by rearranging components through digital language manipulation and photo editing. Using painting, printmaking and video installation, my recent work places the viewer in a projected reality of unseen space. This unseen space allows for the exploration of intangible material, teetering between the second and third dimensions that challenge visual perception and incognizance. The concept of my digital work is inspired by my traditional printmaking practice. Similar to printmaking, each image is layered on top of a substrate. The infinite layers of digital matrix resembles the stone used in lithography that reveals a complex layered history. In order to redefine “reality”, I invite the viewer to explore the imaginative space, the delamination of reality in the in-between world of dimensions. Through this practice, I was able to uncover irregular colors, broken patterns from the system glitches caused by insufficient data feed, bugs and process errors. Through this journey, the virtual experience in the digital form has transformed our perception of reality. The recognition of physicality of space has been distorted. By leveraging the tension between digital image and traditional mediums, I am able to intensify this distortion through mass image duplication, which result in an uncanny aesthetic. As a consequence of this experiment, one can find a co-existence of two and three dimensional world through disorientation, randomness and repetition in this complex grid. It is through this digital reproduction system that I would like to share my view of the world with my viewer. KCC News