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Hwanggeumsan Owl — Lee Yun-gi
Shaded: Lee Yun-giの生涯 (1947–2010)
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Hwanggeumsan Owl — Lee Yun-gi
I see the Seongam Village mud flat and the sea when I open the window every morning. When walking through the inland and village road where there used to be a salt pond, I feel my complicated mind becomes clear, refreshed. The mud flat in Daebudo Island (Daebudo), with its beautiful scenery and rich marine life, such as octopuses and clams, is a well-known tourist attraction. In the mid-90’s, however, Daebudo became connected to the mainland, which resulted in changing a water route. As fishery sources greatly diminished, the fishermen living off the sea dried out as well. In addition, due to the construction of an embankment, Hwanggeumsan Mountain, the highest mountain in Daebudo, was harmed as well. Upon its connection with the mainland, a great number of people flowed into the island, and the native people’s way of living also changed. The villages, where people had been living for generations, underwent a dreadful time fighting over a reimbursement issue. While doing so, the communities gradually weakened. It must have been like the mind of a fisherman who lost his way in a storm on the night sea. I remember that one day my teacher and I were walking by the reeds and talked about installing an impressive art work on the rooftop of the Gyeonggi Creation Center where artists live when we have some time. After a few years passed, we embarked on The Hwanggeumsan Project. I proposed to create the work The Hwanggeumsan Mountain Owl in pursuit of healing the tragic history and revitalizing the local communities. It has been said that once upon a time, a pair of owls lived in a village. People believed the big eyes of the owls represented sages that guarded the village at night and opened the way. Although the people’s way of living changed and the village lost its function due to the convergence between the island and the mainland, we still continue our communal life with the sea. Was there not an owl that was living in Daebudo, the beautiful island of art? Was there not also a large lighthouse standing somewhere on that art island? LED lights are installed in the owl’s eyes. I hope that the first blink of the eyes signals the healing of the history of the art island, and the second blink represents the light of art that delivers us a new hope. I hope that The Hwanggeumsan Mountain Owl, like a lighthouse in a sea at night, guides people through the way and overcomes the wind, becoming a symbol that represents the light of hope, across the mud flat and throughout the island.
アーティストと美術館
生誕地 Gunwi-si, South Korea
Lee Yun-gi (1947–2010) occupied a rare space in the Korean cultural landscape, acting as a bridge between the profound depths of ancient mythology and the visceral realities of modern existence. Born in Gunwi-si, South Korea, his early life was shaped by the complex tensions of a nation navigating its postwar identity. While history often remembers him as a titan of literature—a prize-winning novelist and a prolific translator who brought the intricate labyrinths of Umberto Eco to Korean readers—his artistic soul sought expression through a more tactile medium. For Lee, the boundaries between the written word and the painted canvas were fluid; both served as vessels for exploring the psychological repercussions of conflict, displacement, and the enduring power of human connection.
His creative journey was profoundly marked by his observations during the Vietnam War, an experience that birthed his 1977 literary debut, Hayan Hellikop． This early encounter with the shadows of war ignited a lifelong preoccupation with themes of trauma and survival. As he matured, his intellectual horizons expanded through formal studies at Michigan State University, where he immersed himself in comparative literature and religious studies. This academic rigor allowed him to master the art of translation, eventually publishing over 150 works that included the heavy, symbolic weight of Greek and Roman myths. This deep immersion in classical archetypes provided the foundational vocabulary for his visual art, allowing him to infuse his paintings with a sense of timelessness and universal truth.
In his transition from the precision of translation to the expressive freedom of painting, Lee Yun-gi developed a stylistic approach that was as much about physical sensation as it was about visual representation. His work is characterized by a remarkable use of texture, where layers of pigment are built upon the canvas to create a palpable, sculptural depth. This technique does not merely depict a subject; it invites the viewer to feel the weight of history and the grit of memory. In celebrated pieces such as Blue-eyed Owl, Lee utilizes avian symbolism—a recurring motif in his oeuvre—to evoke a sense of watchful wisdom and the ethereal connection between the earthly and the divine.
The artist’s ability to blend disparate elements is perhaps his greatest achievement. His paintings often mirror the structure of his prose, utilizing subtle variations in color and heavy impasto to drive a narrative forward without the need for explicit depiction. In series such as the Migrant Bird Series, he explores the poignant themes of displacement and the search for home, reflecting the socio-political shifts of the Korean peninsula. Through his use of light and shadow, Lee creates landscapes that feel both intimately personal and mythically vast, turning the canvas into a space where the individual struggle meets the collective human experience.
The historical significance of Lee Yun-gi lies in his role as a cultural mediator. By translating the complexities of Western thought into the Korean vernacular, and subsequently translating those same archetypes into a visual language, he fostered a unique intercultural dialogue. His work resisted the easy comforts of simple description, opting instead for a dynamic use of dialogue—both literal in his books and metaphorical in his paintings—to challenge and engage his audience. He approached life with a characteristic sense of optimism and wit, refusing to succumb to the despair of human cruelty, choosing instead to focus on the resolution of conflict through creativity.
Ultimately, Lee Yun-gi’s legacy is one of profound synthesis. He remains a significant figure in contemporary Korean art because he successfully merged the analytical precision of a scholar with the emotive power of a storyteller. His life's work stands as a testament to the idea that whether through the meticulous translation of a text or the heavy application of paint to a canvas, the ultimate goal of the artist is to uncover the universal truths that bind us all together across time and geography.
展示場所 Ansan, South Korea
Nestled in Ansan, a vibrant city southwest of Seoul, South Korea’s Gyeonggi Creation Center (GCC) stands as more than just an art space; it's a dynamic ecosystem pulsating with innovation and artistic exchange. Established in 2009, this sprawling complex has rapidly become the nation’s largest creative residence and a vital hub for artists both domestic and international. The GCC isn’t defined by static collections of fixed artworks, but rather by its living legacy – the ever-evolving body of work produced during residencies, a testament to the transformative power of dedicated time and collaborative spirit.
The Center's core mission revolves around fostering artistic research and development. It achieves this through meticulously curated residency programs, offering artists unparalleled access to individual studios equipped with essential resources alongside shared creative spaces like media labs and woodworking workshops. These aren’t simply temporary accommodations; they are incubators for experimentation, encouraging artists to push the boundaries of their practice across a diverse range of mediums – from traditional painting and sculpture to cutting-edge installation art and digital media. The GCC actively champions interdisciplinary projects, recognizing that the most compelling artistic breakthroughs often arise when seemingly disparate fields converge. This commitment is reflected in exhibitions showcasing these collaborative outcomes, offering visitors a glimpse into the fertile ground where creativity flourishes.
The Gyeonggi Creation Center’s architecture itself plays a crucial role in its unique environment. While specific architectural details remain somewhat understated – likely prioritizing functionality and artistic freedom – it's understood to be a modern design, thoughtfully constructed to stimulate both individual focus and collaborative interaction. Situated on Seongamdo Island, a strategically chosen location offering scenic beauty and relative seclusion, the building’s layout is designed to facilitate serendipitous encounters and foster a sense of community among resident artists. The island setting provides a refreshing contrast to the bustling urban landscape of Seoul, creating an atmosphere conducive to deep work and creative contemplation.
What truly distinguishes the GCC is its “collection” – a dynamic archive of works born from its residency programs. These aren’t museum-quality pieces displayed behind velvet ropes; they are living, breathing artworks that reflect the unique experiences and processes of each artist in residence. The Center actively supports emerging talents, providing them with invaluable exposure and opportunities to develop their careers within a supportive international network. The GCC's commitment extends beyond simply hosting artists; it’s about nurturing their growth and facilitating their engagement with the wider art world. Past residents have included artists exploring themes of identity, technology, environmental sustainability, and social justice – reflecting the Center’s dedication to fostering diverse and thought-provoking artistic expressions.
The Gyeonggi Creation Center's influence extends far beyond its physical walls. It actively promotes cross-cultural exchange through its residency programs, attracting artists from around the globe and facilitating dialogue between different creative traditions. The Center’s location in Ansan, a city with strong ties to Seoul but also a distinct cultural identity, further enhances this international focus. Ansan itself, as evidenced by its Wikipedia entry, is a dynamic hub of learning institutions and technological development – a setting perfectly suited to the GCC's mission of fostering innovation. The Center’s exhibitions are open to the public, offering a valuable opportunity for local communities to engage with contemporary art and experience diverse perspectives.
The Gyeonggi Creation Center is more than just an artistic venue; it's a testament to South Korea’s commitment to fostering a vibrant and globally connected arts scene. Its scale, international focus, and dynamic environment make it a truly unique destination for artists seeking inspiration and support. As the GCC continues to evolve, it remains dedicated to its core mission: to nurture creativity, encourage research, and push the boundaries of artistic expression – solidifying its position as a cornerstone of Gyeonggi province’s cultural landscape and a significant contributor to the global art community.
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Hwanggeumsan Owl — Lee Yun-gi
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