Lee Ho-jin

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FEAST (A Feast of Sore Souls)
The scenes of rough lives and histories of urban developments are deeply embedded in this space.
Individuals unconsciously belong to it with hope and anxiety.
The issues that each being holds could be a critical subject to individuals but what would that mean to the whole society?
I have always wondered whether the measurements of joy, anger, sorrow, and pleasure are appropriate.
Based on these questions, I have been trying to revive in a different perspective where the vibrant energies gather
and flow as those clash with each other

Civil Storming
acrylic on canvas, 210×300cm
oil on canvas, 225×280cm
Neo Town
mixed media on paper, 245×195cm

mixed media on paper, 138×216cm
Nomadic Holiday
digital print, 27.5×35.5cm/ea
The Gate of Peace(Together)
video works, 00:03:04

Lee Ho-jin
                                                                 Yoo Jin-sang, 
Professor of Kaywon School of Art and Design

The eye was made when skin cells mutated in reaction to light in the early stages of evolution. Sight as a mechanism internalizing stimuli from light represents a bilateral relation between the world and individuals. Sight presents a distinct relation within evolution. If sight is categorized as technical and indirect or non-technical, direct, and physical, it can be divided into either a record of visual information using apparatus and treatment, reproduction, and conveyance or, writing, sketching, painting, and making three-dimensional objects as physical record.
Of the direct ways of recording, painting is most non-linear and time-dependent. Pictorial details on a plane are often distributed through a random selection, not an order, which as Information is combinatory. Reading this information is therefore non-orderly and random, often through overview. Pictorial information can be characterized through high density and purity. A process of decoding this information demands time. Any pictorial production as an act of spending time requires a pictorial gaze equal to this.

21 United diffi_world (2003) by Lee showcases a world seen by many different eyes, looking at a whole world, or at it from inside. In this painting, distant scenes blend with up-close objects, flying in the sky, on the land, crossing each other, flocking together, or as geometric structures. Also, organic bodies entangle, chronicled in many stories, reproduced through diverse standards. Defining all this as confusion is improper as all seem regulated or governed. Colors and touches, blank spaces and particles maintain their own individuality, exuding a vivid sense of movement. This vitality
indicates the subject of this vision is active in this world.
Unique Union (2003) looks like an enlargement of the painting above. Pictorial records here underscore a cycle of vision, its ubiquity and simultaneity. The recording of space, incident and detail coincides with the route the eye takes. Funky Society emphasizing airflow appears drawn. An organism whose surface evolves in the eyes like this is like a dancing being, where velocity and immediacy is underlined.

Twilight Farm shows scenes, graffiti-like lines and sprinkled paint chronicling the subject’s sight. In Dream Horse graphism is emphasized, and red touches generate unique forms, like a chain of cohered facts. These red masses like palimpsests prefigure the emergence of his all-over painting style.

Lee’s work prompts active viewing, reading, and interpreting political, social, and cultural situations of the times. Murals he displayed in 2006 at the Brain Factory are autobiographical and convey his commentary on social phenomena. It includes the painter’s record of pictorial time from a ubiquitous perspective. The painter’s body penetrates society, is hurled into it, and interacts with its incidents. The artist reveals his pictorial body to show this. Seeking more density and not allowing empty space, since 2007 Lee has created multi-layered paintings by adding records to records. The canvas space is treated as an even pictorial plane. Lee’s body with the ubiquitous gaze has diverse potentials. This may be a dancing body, a political one, or appear as a recording machine. Painting makes possible this.