Lee Kwan Woo was born in 1969 in Gwacheon, South Korea. Having grown up near the city center of Seoul, Lee Kwan Woo has lived near a cultural intersection of the world. While studying art at Kwandong University, the artist majored in Western Painting and subsequently had several shows. Each mixed media painting commemorates a lost technology; in this case the hand stamp, and therefore leaves the authentic, rustic nature of these found objects intact. His work has been featured internationally, in art fairs around the world, in cities such as Seoul, Peking, New York and Paris. Lilac Gallery is one of the first galleries in the United States to be representing his work. By bringing the many into one, yet never losing the shining clarity of each individual, artist Kwan Woo makes a statement that goes beyond art and speaks directly to his view of life. Lee is a talented Korean artist who combines ancient tools and contemporary vision to create complex works of art that carry many layers of meaning. His Korean heritage is stamped on each work, yet the most fundamental message of his art is universal. Kwan Woo Lee creates paintings that are not made of paint. His two dimensional surfaces are actually not flat at all. Each stamp carries a word or a pictograph or just a design of the artist's concept. The stamps are placed in an uneven, undulating layer, across a flat surface. Some just out, some receded. They create fields and waves when seen at a distance. As a forest is composed of trees, and an ocean of infinite drops of water, so Lee's constructions achieve completion by the accumulation of many.
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KANG CHAN MO
Kang Chan Mo was born in 1949 in Nonsan City, Korea. He graduated from the Department of Western Painting, College of Arts and Chung-Ang University. He studied traditional Coloration at Japan School of Art. And as well studied traditional coloration in Tsukuba University, in Japan. He was Awarded 2013 Gold Prize at Salon Exhibition, The France beauregard castle Museum. Progressively fed by his background in history of art and steps of his personal experiences, and based on his belief in the being and a deep idea of purity, his painting puts us at the heart of the reign of nature, through atmospheres imbued with silence and peace, suiting the specialty of his sensitive and mental approach. In margin of aesthetical and accepted classifications, his perception is not satisfied by the surface of things, but endeavors to keep only the essential of the rendering. This approach cultivates the process of ellipse and strips his backgrounds from what is superfluous, with necessary distance in order to shape the shortcut that sharpens the presence.
Roh Jae-soon began to draw from the early days. Sometimes he drew the whole body, but mostly focused on eyes and faces. This collection of the lip work has its significance in telling the story of the world. The moment the artist commits the photographed lips to the canvas, the atmosphere and message of the art work are determined. For instance, tight lips express the absence of communication, and open lips the carpe-diem kind of gaiety. Depending on the expression of the lips, some lips suggest hope for the future, and only the lips are highlighted. Roh expresses the lips in various ways. Looking at the works of Roh Jae-soon, we can feel many stories being told through just one simple element: the mouth. Roh refuses to let daily life slide by, incorporating elements of sympathy into his paintings. If the sentence inscribed in the wall becomes a sentence, the lips on the canvas will tell stories as if they had become a reporter. We can hear the cry of the times through Roh Jae-soon’s canvases, embracing the stories of the world. The lips drawn on the canvas are about to tell a story. Roh's drawing's are not simply the lips, but the ‘expression’ of the lips.