Artist & Painting

 © Kim, Yong Gwan

金永坤(Kim，Yong Gwan)

一位艺术家走进办公室，拿着他画的小册子自我介绍。生动的色彩和浓密的画笔，显示了他的情感和思想。他用不熟悉的词语来描述他的作品，他“对生态神学感兴趣”，说明了艺术家的天真头脑，他从自己的绘画，或他画自己的绘画。也许，这就是为什么他最近的作品包括一个人的身体在一个景观。

An artist walks into the office, introducing himself with a pamphlet of his paintings. Vivid colors and forced brush strokes that densely filled the screens shows his sensibility and thoughts. His use of unfamiliar words to describe his works that he is “interested in ecological theology,” illustrates the naïve mind of the artist that he paints from himself, or he paints himself through the painting. Perhaps, that is why his recent works include a body of a person in a landscape.

 © Kim, Yong Gwan

金永坤(Kim，Yong Gwan)

身体，而不是作为一个独特的对象分开，被描绘成周围景观聚集元素的一部分，树木，灌木丛和天空相互反应模糊边界。他在这里描绘的不是一个瞬间的现象状态，而是作为一个单一的对象的解构，同时，它是关于事物与周围环境的整合。

The body, rather than being separated as a distinctive object, is depicted as part of the aggregated elements of the surrounding landscape where the trees, bushes, and the sky respond to each other blurring the boundary. What he depicts here is not a moment’s phenomenal state; rather it is the deconstruction of the object as a monad, at the same time, it is about things become an integrated being united with the surroundings.

Studio & Nature

 1st floor plan

一楼图则

这位艺术家在家里工作已经十多年了。他画的题材不是什么特别的东西，而是他日常生活的空间。他不断地把目光投向附近的公园，街道，他经常去的乡村的一个小村庄。从他最近的展览标题“与一棵树的谈话”、“思考森林”中可以看出，他的画中没有明确的人与自然的界限。此外，一个身体和它的周围，或内部和外部之间的区别只是暗示性的。

The artist has been working at home for more than ten years. The subjects of his paintings are nothing special but spaces of his daily life. He has been constantly projecting his gaze at the parks nearby, streets, a small village in a countryside where he often visits. As seen from his recent exhibition titles, ‘A Talk with a Tree, ’‘Thinking Forest,’ there is no clear boundary between human and nature in his paintings. Furthermore, the distinction between a body and its surroundings, or interior and exterior is only allusive.

 © Kim, Yong Gwan

金永坤(Kim，Yong Gwan)

我们清楚地揭示的是连续的物质波和充满空间的强大力量的流动。从他的笔记中发现的一段引文解释了一切，“分子也在思考”。作为现代主义本体论的另一种选择，现代主义本体论将人与自然、身体与理性分离开来，并假定某种主导结构，他的工作室探索了完整的世界。他的工作室应该反映他的世界观。然后，真正的问题是如何构建一个模糊的领域，内部与外部，自然渗透到空间，艺术家的目光溢出到自然。

What is clearly revealed is the flow of continuous matter waves and powerful forces that fill the space. A quotation found from his note explains everything, “Molecules think, too.” As an alternative to the Modernist’s ontology that separates man and nature, body and reason, and that postulates a certain dominant structure, his studio explores the world of wholeness. His studio shall reflect his world view. Then the real question is how one constructs an ambiguous field that interior is blurred with exterior, nature permeates into the space, and the artist’s gaze spills out to the nature.

Skin & Space

该遗址的北面是一座4米高的斜坡山，向三面开放。首先，一个长长的立面矗立在遗址的南面，俯瞰着一条小溪。外观的皮肤被轻轻地向内滚动，因为它打破了内部和外部之间的边界。卷入的表面在进入内部时上升，它们穿过内部朝向墙的另一边。

To the north of the site is a 4 meter high sloped hill, and the site is open towards all three sides. First, a long façade stands on the south of the site and overlooks a stream. The skin of the façade is gently rolled inward as it breaks up the boundary between the interior and the exterior. The rolled in surfaces lift up as they enter the interior and they traverse the interior toward the opposite side of the wall.

 © Kim, Yong Gwan

金永坤(Kim，Yong Gwan)

在交叉过程中，皮肤的面板被裂开和扭曲，形成松散的裂缝。景观透过缝隙渗透，光也是如此。光线用时间的每一刻给空间着色。当物体移动时，裂缝的空间发生了敏感的变化。皮肤变成空间，空间变成皮肤。边界变得模糊，通过内部和外部的流动变得更加密集。

During the crossing, the panels of the skin are split and distorted, creating loose crevices. The landscape permeates through the crevice, and so does light. The light colors the space with every moment in time. As a body moves, the space of the crevice changes sensitively. Skin becomes space, and space becomes skin. The boundary is blurred, and the flow that passes through the interior and the exterior becomes denser.