Posts tagged War
Paintings-Sculptures inspired by Korean Landscapes, Artist Haevan Lee
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Haevan Lee (b.1990, Republic of Korea) expresses the regional context of specific places through various forms including painting, installation, video, and collaborations in other media. DMZ Landscape Series turns restricted or photography-prohibited areas into paintings. The artist has created painting-sculptures by superimposing the layers of landscapes that she experienced while staying at Peace Culture Bunker, an anti-tank defense shelter built after armed North Korean guerillas invaded Seoul, South Korea in January 1968, and presented the works in the exhibition Goliaths, Tanks (2018, Seoul). She is planning and producing DOPA, a collaborative project with contemporary artists, and currently contributes to various exhibitions including those at Buk-Seoul Museum of Art and SeMA storage, and her work is in the collection of MMCA((National Museum of Modern and Contemporary Art, Korea)Government Art Bank.

Haevan Lee has arranged indications, situations, and apparatus for guessing the aftermath inside peaceful-looking sceneries to reveal a reality of psychological anxieties in the divided Korean peninsula. The artist, who was born in Dongsong area in Cheorwon, Gangwon-do near the DMZ and has always had a curiosity for unknown, unnamed spaces, explores them by either keeping a distance from the view as an observer or mingling within the distances in fantasy.

‘Goliaths, Tanks’ by Haevan Lee is an amalgamation of her paintings and objects weaved together in her site-specific installations and multi-media projections, accompanied by performance pieces. The movement in each object resonating with the sound of ticking clocks serenely draws out the muted anxiety underlying the division of Korean peninsula following the war in the 1950s. The ensemble takes place at the Peace Culture Bunker at the Northern end of Seoul, which was originally built in the late 1960s as a barricade to cut off North Korean ground forces, recently transformed into an art space. The artist embodies the remnants and residues of the space into her entire exhibition, deliberately placing objects along the artillery halls looking out to grass yards where rusty old tanks sit as gravestones.

www.haevanlee.com 

Sisavanh Phouthavong-Houghton

Sisavanh Phouthavong-Houghton is an Associate Professor of painting at Middle Tennessee State University, Murfreesboro, TN. She earned her B.F.A. from the University of Kansas and her M.F.A. from Southern Illinois University of Carbondale. Sisavanh is a multi-media artist using classical techniques and materials such as oil paint, encaustic, bronze and wood. She has exhibited her work in solo, juried, and invitational exhibitions throughout United States, Canada, and New Zealand. Currently, she is represented by Tinney Contemporary gallery in Nashville, Tennessee. Her works have been featured in Gwyneth Paltrow’s online journal Goop.com and in the actress’ personal Nashville loft, Volume #1 of Studio Visit magazine, and recognized among “The New Superstars of Southern Art” by Oxford American – The Southern Magazine of Good Writing. Her research has been funded numerous times by the Tennessee Arts Commission and the generous support of MTSU grants. She continues to give back to the refugee community by partnering with The Frist Center for the Visual Arts’ Educator for Community Engagement, Oasis Center, and CRIT, Center for Refugees+Immigrants of Tennessee.

Statement

This new body of work is inspired by the organization Legacies of War (legaciesofwar.org). Their mission statement: "is to raise awareness about the history of the Vietnam War-era bombing in Laos and advocate for the clearance of unexploded bombs, to provide a space for healing the wounds of war, and to create greater hope for a future of peace." As a refugee, the process of connecting and disconnecting with a place or community are abstracted ideas of migration as an immigrant. The collage and painting process is unpredictable and is an ongoing dialogue about assimilating and relocating into another culture and space. The work capture and embrace architecture and built environment in its state of flux. Teetering between realism and abstraction, I fold space and time to connect with the fleeting world. To achieve a kaleidoscopic effect, I employ multiple viewpoints, rhythmic fragmentation, and strong color contrast to fuse both the contemporary and historical landscape elements into one. 

"Sisavanh Phouthavong-Houghton is one of the first professional Lao American visual artists and educators of her generation. Over 7,200 Lao refugees resettled in Tennessee in the aftermath of the Laotian Civil War that ended in 1975. Through her powerful acrylic work, she confronts the challenges of bicultural memory and documentation. She considers notions of the abstract and the concrete for those who must remember both their inner and external histories in a diaspora framed by secrecy and loss. Her work probes what is shared, what is felt, and what must remain deeply personal among the lessons passed on to the next generation as it heals and rebuilds." By Brian Thao Worra: Poet, Writer, Curator, and advocator for the Laotian Community.

www.sisavanhphouthavong.com