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Now, here


Looking over Seoul today, I've discovered a gap between the conceptual image and the recognition on city space we live in reality. Various perspectives from outside, inside, below and above needed to observe this complex nature. The landscape is formed by borrowing the language of layouts within the basis of landscape painting by experiencing the space, looking over its history, drawing a sketch, and taking photograph during an actual field study, At this moment, the drawing is based on experience and 'viewpoint in motion' that draws viewer's attention to the canvas. The observed objects are well constructed within a painting, out of constraint from a fixed field of vision and within each different point of view. The composition becomes flexible by arranging felicitously the most profoundly felt portion and resolutely deleting the rest. The horizontally long canvas allows the viewer's attention to move from right and left as it creates a personal narration by adequately segmenting the episode.


Space does not naturally remain in the given state, but rather develops into new meaning followed by our investing in it. The context becomes dense even more as the form of landscape described with various perspectives, angle, and scale, stories piled up over generations, the trace of development and the contemporary life scenes on the top become overlapped. Such painting devices in confrontation such as the tradition and contemporary, immanent scene and objective technique, plane and multiple layers, each forms opposition to bring variation on canvas in amusing way. As the binomial topics become more disparate and arbitrary, the new interpretation on subject and strength delivered from becomes more evolved. By applying the traditional methodology with my own way and medium, I value the city environment as landscape and develop 'Now, here' in daily life.


_ BoMin Kim (2011)

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