Interpreting the Natural: Contemporary Visions of Scholars' Rocks: JooLee Kang

STATEMENT

I focus on change of ecological environment, transition of living organism, and evolution, created inevitably, to survive together. I interprets complicated interaction between human and nature in various perspectives, asks for understanding and consideration of our possibility and dignity through pen drawing and mixed installation. I aim to go beyond simply recreating the mainstream issues of the present day such as humanity’s rule over nature, taking a neutral view that comes from a broader perspective and exploring the close symbiotic relationship between humanity and nature.

In my work, personification is shown, but no person appears. Animals, plants, insects, fruits, etc. occur, but the objects are trapped in the process of the conspiracy of the hybridization. The drawings present the ecosystem as well as traces of human civilization such as vases, pots, terrariums, glass dorms, tools, etc. The living organisms in drawings feel unfamiliar and imaginary but are in fact recreations of existed living organisms informed by research. Objects made by humans are things that we ascribe value to and possess, showing desires and intentions to take nature and coexist with it.

In particular, my recent work focuses on the issues of hybridization and transplantation of plants, advancing from the confrontation, conflict and the hybridization of humans, nature, and animal ecosystem. The hybridity in my works revealed my contemplation about expressing complex tendencies and double side of something that is beautiful and at the same time not beautiful, but has unexpectedness. The twisted shapes do not end just in forms but are projected into the aesthetic dimension of sociability as it extends to the embodied mind in the process of work. That is why the hybridized works of bonsai deal with small matters and minor things, anguish about powerless objects, and things that have value because they are rare, and unique even if distorted.

My works are a metaphor for the close bond between humanity and nature, which are often thought of as being in diametrical opposition, or a relationship of subordination, but are in fact woven together like a single piece of fabric.

Without doubt, the concept of art differs from one to another. Art gives consolation to some people, while it awakens others. Sometimes art creates impression and moves people. Art is not a mere beautiful landscape or still life for me. I think art is something that is supposed to reflect the changes of life and reality. I believe that art must be a window to constantly communicate with the present and help us understand the world more, instead of just remaining as a dead artwork hung in the exhibition hall.

BIOGRAPHY

JooLee Kang interprets the complicated interaction between humans and nature from various perspectives. Her work asks us to consider the possibility and dignity through drawing and mixed installation. JooLee Kang received her MFA from Tufts University - School of the Museum of Fine Arts in Boston, USA and her BFA in Painting from Duksung Women’s University in Seoul, Korea. She had numerous exhibitions including solo exhibitions at Gallery NAGA (USA, 2020, 2017, 2014), Korean Cultural Center in Madrid (Spain, 2018), Gyeonggi Museum of Modern Art (Korea, 2018), Harvard Medical School (USA, 2018), Museum of Art at Univ. of New Hampshire (USA, 2014) and group exhibitions at Amorepacific H.Q. (Korea, 2019), Newport Art Museum (USA, 2019), Suwon Ipark Museum of Art (Korea, 2018), Fitchburg Art Museum (USA, 2018), and Taipei Fine Arts Museum (Taiwan, 2017). Kang also received Suwon Cultural Foundation Artist Grant (2019), Seoul Foundation for Arts and Culture Artist Grant (2018), SMFA Traveling Fellowship (2013), St. Botolph Club Artist Award (2012), and Massachusetts Cultural Council Award (2012). She was invited as an Artist-in-Residence at Gyeonggi Creation Center (Korea, 2018), Cheongju Art Studio (Korea, 2017), Willapa Bay AiR (USA, 2015), and Beijing Inside-Out Art Museum (China, 2014).