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* Yeokmasal
On the road, there's a house, a deep rooted tree.
And an ever-wayfaring man.
The world's covered with a massive lump
In which it rains and blows unceasingly.
Suddenly the rain changes to blizzard.
A woman stands alone on the edge of the world.
There's a hardly discernable murmuring sound,
With a sigh from the grove.
The man continues on his way down the road.
* A Dot
A dot is in existence as a subject of a deterritorialized nomad, for it has its own attribute as to what is moving. The preempted dot in my paintings is located in simple lines and their margins so that it emerges to meet the spectators' gaze. Then it moves from the pasturland of my work to the viewers for their pleasure.
- Dong-hwan Bai's Essay
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About Artist
A power becoming something's scenery
Bai, Dong Hwan's the latest works
Line
In the western paintings, a line had been considered as an attribute or a complement of the object itself until Impressionism emerged. However, as the lessons of Impressionism, there were no lines itself such as the lines of apples or fields; the lines are 'the potential' as compositive power, which leads to occurrence of things.
He reveals this potentiality by scraping off the paints. In fact, the lines in his paintings are the original background seen when the surface is deleted. His pictures are a kind of chaos, that is, a place where things and background exist together and breathe each other. That is a premonition of 'Logos', a continuous conversation to Universal Being. Thus, he seems to believe in power of abstract called 'the invisible', which enable the invisible to be visible, as Merleau-Ponty mentioned. He just responds as slightly as a feather to power of the abstract.
Eventually, at this point, when things never intervene in background or vice versa, the lines called 'contemplative' appear. It's not scenery such as any pine trees and breeze in real space, rather but unknown power as scenery that just stays there and makes itself sensible.
I haven't named it yet, but I guess he attributes it to traditional value as a universal thing. In other words, he tries to listen to traditional and philosophical questions about who I was, who I am, and who I want to be - in the scenery of nothing or the Real, the power that becomes scenery of something.
I expect it will be deeper and far-off.
- Eun-Ju Park (Art Studies)
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Biography
Dong-hwan Bai(1948-)
1948 Born in Jeon-nam Province, Korea
E-mail : www.dhbae@silla.ac.kr
Webpage : http://www.kcaf.or.kr/art500/baidonghwan/
Education
M.F.A. Educatioin, Graduate School at Dong-a University, Busan, Korea
B.F.A., Seo-ra-beol Arts College (Present Joong-ang University), Seoul, Korea
Selected Solo Exhibitions
1976-2007 - 25th Solo show (Seoul, Busan, Gwangju, Jeonju, N.Y, L.A)
Selected Group Exhibitions
2007 Thinking About Nam-do (Gwangju Arts Museum)
2006 Documenta Busan Arts Testimony (Busan Museum of Modern Art)
2006 Gong-Ju International Art Festival (Gong-Ju Lim Lip Art Museum)
2006 The 16th PyeongTack International Art Festival (PyeongTack Lake Art Center)
2004 Gwangju Biennale invited the 4th club (Gwangju Biennale Museum)
2003 Incheon Media Art Biennale 'Bodily Scape' (Incheon Multiculture & Art center)
2003 Art Exhibition 'Water' (Seoul City Art Museum)
2002 6th Busan Art Festival (Busan Cultural Art Center)
2001 Art Exhibition 'Water' (Seoul City Art Museum)
2000 After the Figuration Art - figuration, people, everyday lives (Busan Museum of Modern Art)
1999 '99 Seoul Art Group Exhibition (Seoul City Art Museum)
1998 Looking for the original from the Nam-Do painting spirit (Shinsaegae Gallery, Gwang-ju)
1997 The History and Environment of Hwanghae - From Incheon to Mokpo (Incheon Multiple Cultural Arts Complex)
1997' 97 Seoul Art Group Exhibition (Seoul City Art Museum)
1997 MOSTRA DI ARTE COREANA CONTEMPORANEA (Museo National Delle Arti, Roma)
1996 LANTERN OF THE EAST (New Delhi International Art Festival, India)
1996 MODENREN KUNST AUS KOREA (Thuringer, Germany)
1996 MANIF SEOUL 96 Selected Artists Exhibition (Seoul Art Center)
1995 Seoul International Ceremony at Art Exhibition (National Museum of Modern Art)
1994 The Centennial Ceremonial Exhibition of Dong-Hak Peasantry Revolution "Seaya-Seaya Parangsaeya" (Seoul Art Center, Jeonbuk City Art Hall, Gwangju City Art Museum)
1993 The Touring Exhibition on National Museum of Modern Art Collections (Gwangju City Art Museum, Jeonbuk City Art Hall, Busan Cultural Art Center)
Public Collection
National Museum of Modern Art
Gwangju City Art Museum
Busan City Art Museum
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