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Park Byung-joon

제목 Yellow soil Painting in the 2000s_Park, Byung-joon 등록일 -0001.11.30 00:00

- The hills and streams beyond the window -

Material_ Traditionan paper, Natural Ink, Yellow Mud, White Mud, Extra Gel

Size_ Width 25cm, Length 15cm / Period- 2001


A thickness that is not thick.

A korean artist expresses the land and it’s culture in the canvass. That is why a Korean’s scree tends to be thick. It is a physical as well as psychological thickness. It is a way of folding the space that lies innate in our culture. The act of folding time and space lies deeply in our culture which is what makes the thickness more than it is. Each layer has it’s own suggestion that is only amplified with each folding.


Park Byung-Joon’s screen is thick. However it is not a physical thickness. No matter how man layers he paints the thickness does not exceed the normal thickness of what we call a traditional oriental painting. The thickness is of an aesthetic nature. That is the soul of an eriental painting.

The artist first makes a dot with ink. It can be made at one try or by several. Over that dot mud is applied andafer a while the yellow mud is applied as well. It is finished with the wouch of the white mud and is this whole process is repeated five to six times to transform it into a part of the picture.

But what is there so many dots for one painting. It is a form of expression that most befits Park, Byung-Joon’s belief of art. Yoo Dosun said, ‘The first is to deal with the rough and the second is to deal with the lacking and the unnatureal and the third is to find strength in the details and the fourth is to fund an order in the chaos and the fifth is to find a color within the ink and the sixth is to find the meaning in a normal painting.“


Park, Byung-Joon’s painting is one such as this. He uses his heart to find joy where the paper is rough and believes that redemption is possible through this process; utilizes dots to express plainl his vision to keep his love of th art alive; uses the yellow mud to embody our soul; uses ink to infinitely spread the art; and uses his unique approach to connect the land’s history and sublimate it into an art form.


That is how it all came to. To create such thickness, both in mind and spirit the use of the yellow mud is critical. The mud is formed through millions of years and contains all the emotions of the people living on it and is an ideal material to represent the emotions of the people.

The one thing that makes this all possible is the water-based acryl medim. Than the question arise, wh an acryl medium. It is curious how anything made in the United States can be used to represent our nation. However, yellow mud is not from korea. It is a collectied Acryl medim is slowly becoming more and more important to koreans. It is a shineless rough material that is very similar to the yellow mud and through tie, it can be called Korean through its use. The pictures seem to agree with this.


Park, Byung-Joon’s picture that speaks in defense of the acrtl does not contain any of the oiliness that is the characterisstic of the acryl. Instead, it has the calm, friendliness of the white and yellow mud and known of the foreign presence can be felt. In that sense Korea is a melting pot. It has always managed to accept foreignit and to make it into its own and acryl medim will soon undergo the same process.