Sun K. Kwak

1966년 생

1997 뉴욕대학(NYU) 대학원 Studio Art 졸업, 뉴욕
1989 숙명여자대학교 회화과 졸업, 서울

2010 Life Force ,New Art Gallery Walsall 미술관,월솔,영국
2009 Enfolding 280 Hours, 브룩클린 미술관, 뉴욕, 미국
2008 Times Composed, Causey Cotemporary Art, 코시갤러리,뉴욕, 미국
2007 Livable Drawing- Gallery Skape Project, 갤러리스케이프, 서울, 한국
2006 Space Take-out, 현대 윈도우 갤러리, 서울, 한국
2005 Black Masking Tape Drawing, 브레인 팩토리, 서울, 한국
2001 Time and Space Queens Museum of Art at Bulova Center, 퀸즈미술관,뉴욕, 미국 그룹전
2012 Phantoms of Asia, 아시안아트뮤지엄, 샌프란시스코
Liminality, Luminosity, and the Everyday, 콜로라도 주립대 씨유뮤지엄, Colorado
2010 Memory of the Furture, 리움 미술관, 서울, 한국
2009 Re-Imagining Asia, The New Art Gallery뉴 아트갤러리, 월솔, 영국
Animal Art, New Children’s Museum, 샌디에고 어린이미술관,캘리포니아, 미국
2008 Re-Imagining Asia, House of World Culture 미술관, 베를린, 독일
2007 Abbondanza, 페라가모 갤러리, 뉴욕, 미국
Life Force, 삼성생명 신축 로비, 서울(영구설치) 리움뮤지엄 심의, 서울,한국
Buscando la raiz, Sala Alcala`31 미술관(아르코특별전), 마드리드, 스페인
2006 The 6th Gwangju Biennale, 열풍변주곡, 6회 광주 비에날레, 광주 , 한국
Wall to Wall Drawings, Selections Summer 2005, 드로잉 센터, 뉴욕, 미국
2003 637 Running Feet: Black on White Wall Drawings by 14 Artists, 퀸즈 미술관, 뉴욕
2001 Spunky, Exit Art 갤러리, 뉴욕, 미국

2005 PS.122 Project Studio 레지던시,뉴욕
2004 Artist Alliance레지던시, 뉴욕
Henry Street Settlement 레지던시, 뉴욕
2001 BCAT; Brooklyn Community Access Television and Rotunda Gallery레지던시, 브루클린, 뉴욕

2006 폴록 크라스너 그랜트 , 뉴욕
1998 Film and Video Art, 프로젝트 그랜트, 뉴욕

Artist’s Statement

My first reaction to the visual and emotional qualities of a given space is rendered through my spontaneous tape drawings. My drawings are born through the communion between the material and the spiritual, wherein my own self is constantly reflected emptying itself. In creating restrained and refined expression with mundane, mass-produced masking tape as a medium, the juxtaposition of value-of both medium and of expression- underscores my effort to strike a balance between polarizing principles. As a medium, black masking tape freely shifts between two and three dimensional planes. Through the pliability and the accessibility of ordinary black masking tape, I aim to designate the lines as an extension of myself. The process signifies my effort to unite myself with the medium as it weaves its way unhindered through varied visual and environmental spaces. Myself transferred into the black lines orchestrates the dynamism of manifold energies generated between the architecture‟s idiosyncrasy and its surroundings. Structural tensions are now liberated into a new „pictorial reality‟ where the viewers are invited. As they step into these three dimensional drawings, their visual perception is expended to another dimension of time and space. At the close of an exhibition, the space once again becomes blank as the black tape of the drawings is pulled off the wall and thrown out. This process of emptying the space is a metaphor for the ephemeral nature of life and my acceptance of the emptiness of that nature. Yet the drawing lives on in viewer’s memories as an imprint that leaves the space forever altered. My continued interest in and experimentation on the theme of “time and space” is apparent in the installation entitled “Moses’ Choice” which consists of two large wall drawings on opposite facing walls and is inspired by the story of Moses‟ parting of the Red Sea. In re-examining the pivotal moment of the nexus between his awe and religious challenge, my reinterpretation of the story takes form as dramatic drawings on curved corridor like walls reminiscent of parted waves. In the installation entitled “One Hundred One Hours of Conversation”, the wooden floor of the gallery becomes a space of lyrical meditation with the placement of wave like patterns. While “Moses‟ Choice” envelopes the viewers, “Space Take-out” becomes a part of the surrounding environment, inviting passerby to become spectators. The tape drawing is placed in a gallery show window facing a busy roadway: traces of the drawing‟s afterimage are carried away by passengers in speeding cars and by passing pedestrians. “Untying Space” is tunnel-like corridor space enclosed by two rhythmic, flowing walls has been created. The passageway starts at the top end of ramped entrance, facing viewers entering the space. The installation presents itself with three different elements in harmony: The corridor slopes and winds through the interior of the gallery, drawing a bold line in the architectural space of the building; the flowing lines of the walls also trace the echoes and reverberations between them; lastly, the directional movements of the viewers in the gallery trace invisible lines themselves throughout the space. These energetic lines mingle and flow, creating a space of limitless wonder and possibilities. The work Livable Drawing 2007 starts with my first impression of the gallery building, a reminiscent of story that a house in an unknown place, misplaced after a tornado has swept away. Black speedy lines embrace the exterior wall of a three stories high gallery building and soon, the lines have ascending features, maximizing surreal atmosphere of the gallery. With the work, the building lost its weight and rigidity, so a viewer experiences oneself in a whole new space as one enters into a gallery with a guidance of the fast moving lines. The lines are a bit relaxed at the first floor, but they soon retrieve dynamics when they reach stairs; then, they soon stretch out into the outer space. The viewer experiences and encounters his or her subconscious space and time, finding oneself breathing within the Livable Drawing. Through the series of these drawing on space I visualize previously unseen space and time that existed only in our imagination and subconscious realm. This will project viewer’s another existential being proposed in this new space and timeArtist’s Statement

Sun K. Kwak