Author r Date 2021-11-18 08:58:37
 Title ÀÛ°¡³ëÆ®-ÇÁ·ÎÇÊ
A significant interview of my art and the vision
¶æ±íÀº ¸¸³²/ÀÎÅͺä, ³ªÀÇ ¿¹¼ú°ü

Recently, I was invited to a local podcast in Ulsan.
It was a wonderful meeting with the vice president Nate Mandigo, program director Brian Girolametto, and Saurabh Talele at their office and my art studio.

The interview was very nice.
Although my English is not good to communicate clearly. I think our conversation was 70~80%. Especially some of their questions were very hard to say simply because there are many complex things (history/background and reasons).
But I know their questions are very important to understand about my art and Korean culture.
According to their Topic List of the paper, I am trying to write again.
It will take time to write/answer clearly in Korean and then English.
I am not sure when I can finish but I will add/post at this page repeat as possible as I can. Belows are their contact and their mission and vision.

Mission Statement - We HOPE is a local volunteer-driven non-profit organization based in Ulsan that is committed to working with disadvantaged youth, fostering growth and awareness in our communities and improving the lives of those in need.

​Vision - To grow the NPO into a nation wide entity through a diverse group of volunteers, to impact our local communities in a positive way.

https://www.wehopekorea.org
010 9944 5505
wehopekorea@gmail.com
Facebook : wehopekorea

The Topic List
Early Career
- Loved art from elementary school and was encouraged by teachers
- Influential teachers in highschool
- Worked as an art teacher in a private highschool for 23 years
- Retired 8 years early to pursue his passion

World Travel
- Galleries in different countries
- Sells more overseas than domestic
- Has visited Australia, USA, Myanmar, China, Germany, France. Luxembourg. Russia, Cambodia, Japan.
- Has plans to visit Europe, Australia, Singapore, USA, China, Myanmar, Russia, Canada, Nigeria...

Other
- Some of his paintings have taken 10 years to create
- Ask about influences, how he developed his style
- Plum blossoms (Maehwa) is his specialty, been painting them for 20 years (this is from the maeshil tree)
- How to price artwork
- Corruption in the system, parallels between art and politics
- Government and private investment
- Advice for younger generation of artists

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About the work of Maehwa (Plum Blossoms) - by the artist

It was in 2003 that I started painting of the Maehwa (Plum Blossoms) on canvas.
Acrylic paint has availed for the expressive technique of rendering the painting¡¯s backdrop, the structural integrity of the Maehwa. Thus, the figure of the tree remains intact while the oil paints are applied. Taking full advantage of both mediums, the material effect is a rhythm with attributes of watercolor in that it is merry and refreshing. So, it can be said that The Maehwa Works enact a harmonious marriage of the positive traits of disparate materials: those traditionally utilized for the painting of a Korean SooMukhwa, and the more modern materials used in Western paintings, which require their own distinct methodology.

My Maehwa paintings reach beyond the mere aesthetic beauty of the subject, bringing to bear symbolic meaning, especially in the realm of Korea¡¯s emotional disposition: the noble character and strong discipline of the dedicated scholar. The petal¡¯s delicacy contrasts to gnarled boughs and rough twisted trunks. The Maehwa stretches toward the unreachable sky with an unyielding tenacity.


Review : Contemplating on Landscape and Inner World of Kim Chang Han
- by Kim Seokhee, Professor at Kyung Hee University in seoul

I view his paintings as a performance. He travels around the world and is unaffected by the crowd that surrounds him. He handles his brush like a dancer in a performance. His rough yet precise sketches creates vitality through unhindered rhythms. Therefore it is both rough and elegant. Roughness and elegance are qualities that are hard to coexist, but just like design and abstraction, roughness and elegance rule his paintings because for him painting is a ritual and performance. This is exhibition is a record of his powerful performance.


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Ãâ»ý : 1964
Çз : 1987 È«ÀÍ´ëÇб³ ¹Ì¼ú´ëÇÐ ¼­¾çÈ­°ú Á¹¾÷
1991 È«ÀÍ´ëÇб³ ´ëÇпø ¼­¾çÈ­°ú Á¹¾÷
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ȨÆäÀÌÁö : www.kch.pe.kr
ÆäÀ̽ººÏ : https://www.facebook.com/changhan.kim.370?ref=tn_tnmn

À¯Åõºê-1 : 2019 °³ÀÎÀü(Á¦¸ñ: dz°æÀ» ÅëÇÑ ³»¸éÀÇ ½É»ó) https://youtu.be/VwF-E8OIj_A
À¯Åõºê-2 : 2016 °³ÀÎÀü(Á¦¸ñ: ¹Ù´Ù) https://www.youtube.com/watch?v=DmtGdIt9G_Y
À¯Åõºê-3 : ÇöÀåÀÛ¾÷(°Ü¿ï¹Ù´Ù, ¿©¸§¹Ù´Ù) https://www.youtube.com/watch?v=R6j8rl8Noqo
À¯Åõºê-4 : ÇöÀåÀÛ¾÷(¸ÅÈ­) https://www.youtube.com/watch?v=DQvGh63odNA
À¯Åõºê-5 : ÇöÀåÀÛ¾÷(¿ï»ê °ø¾÷ž)
https://www.facebook.com/changhan.kim.370/videos/10156144304426943/UzpfSTc0ODgwNjk0MjoxMDE1NjE0NDMwOTY4Njk0Mw/

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< ±âŸ >
- I.C.C.(International Creative Community) ±¹Á¦Ã¢À۹̼ú°øµ¿Ã¼ Çѱ¹Ãø ´ëÇ¥(2007)
- ¿ï»ê±¤¿ª½Ã ºÏ±¸Ã» ±¹Á¦¹®È­±³·ù ÀÚ¹®À§¿ø(2008)
- (»ç)¿ï»ê±¤¿ª½Ã¹Ì¼úÇùȸ °¨»ç(2005)/ÀÌ»ç(1999~2001)
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- ¿ï»ê¹ÌÇù»ó(Çѱ¹¹Ì¼úÇùȸ ¿ï»ê±¤¿ª½ÃÁöȸ - ¿ÃÇØÀÇ ÀÛ°¡»ó, 2011)

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2020-1, À̵¥Àϸ® : °³ÀÎÀü ¼Ò°³https://www.edaily.co.kr/news/read?newsId=01364486625994912&mediaCodeNo=257

2020-2, KBS ¶óµð¿À : ¡®¹®È­¿¹¼úÀÎ ÇѸ¶µð¡¯ - Åëµµ»ç ¸ÅÈ­¿Í ÃÖ±Ù ÀÛǰȰµ¿ running time 3ºÐ40ÃÊhttp://www.kch.pe.kr/1-collector/e-video-photo-2020/kbs-radio-2020.mp3

2008 : ¿ï»ê MBC TV - ¹®È­ Çâ
http://kch.pe.kr/0-bio/2-press-photos/video-0803-mbc.htm

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Å©°Ô ºñ½Ñ ±×¸²ÀÌ ¾Æ´Ï´õ¶óµµ º¸Åë »ç¶÷µéÀÇ ²Þ°ú Èñ¸ÁÀ» ´ãÀº ±×¸²°ú ÇÔ²² ÇÑ´Ù¸é ÇູÇÑ »îÀÌ ¾Æ´Ò±î?



The Palette of Oil colors À¯È­ ÆÄ·¹Æ®

Guess how old does this palette?
ÀÌ À¯È­ ÆÄ·¹Æ® ¸î ³âÂë »ç¿ëÇÑ °Í °°Àº°¡¿ä?

I am using only this wood foldable palette whatever I paint on a small or big size canvas. Also using this one overseas.
This is very useful, comfortable and strong especially outdoor.
But I have to cleaning the left Oil colors and Liquin medium everytime to keep the best condition. Actually now it is difficult to purchase the same oil colors palette in Korea. Newest palettes are not strong and not true wood.
Anyway it looks very beautiful and I can feel the time process of the countless working here about 20 years.
Definitely this is a good job of the beauty.

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±×·¯³ª ´çÀÏ ÀÛ¾÷ ÈÄ ³²Àº ¹°°¨°ú ¸¯Äý ±â¸§ÀÌ ±»¾î¼­ ÃþÀÌ »ý±âÁö ¾Êµµ·Ï ´Ã û¼ÒÇØ¾ßÇÑ´Ù. ³ªÀÌÇÁ·Î ¹°°¨°ú ±â¸§À» ±Ü¾î³»¸é¼­ ¹Ì¼¼ÇÏ°Ô ³²Àº ¸¯Äý ±â¸§ÀÌ ÀÏÁ¾ÀÇ ÄÚÆÃ ¿ªÇÒÀ» ÇÏ¿© ÆÄ·¹Æ® Ç¥¸éÀÌ Ã¶ÆÇó·³ °­ÇØÁø´Ù.
ÀÌÁ¦´Â ±¹³»¿¡¼­ ÀÌ·± ³ª¹«Á¦Ç°ÀÇ À¯È­ ÆÄ·¹Æ®¸¦ ã±â ¾î·Æ´Ù. ´ëºÎºÐ MDFÇü½ÄÀÌ¶ó ¹®Á¦°¡ ¸¹´Ù. ¾î·µç ¾à 20³â°£ ¼ö¾øÀÌ ¸¹Àº ÀÛ¾÷À» ÀÌ ÆÄ·¹Æ®¸¦ ÅëÇØ ÀÛ¾÷Çϸ鼭 ±×µ¿¾È ½×ÀÎ ¼¼¿ùÀÇ ÈçÀûÀÌ ³Ê¹«³ª ¾Æ¸§´ä°Ô ´À²¸Áø´Ù.
À̰͵µ ¸ÚÁø ÀÛǰÀÌ´Ù.






ÀáÀÚ¸®ÀÇ »ç°è(ÞÌÌù) - ÄÝ·ºÅÍ À̾߱â
A good collector.
Recently, an art lover asked me seriously what is your best selected works in your life? It was very difficult to answer as I have painted diverse subject/material over 40 years. But I answered with attached in the followings and then the collector decided to collect the four small size works set of Dragonfly Seasons series.
Belows are a beautiful story which is a copy from my first art-book in 2010 and a distinguished solo exhibition at that time with the works in Seoul.
http://kch.pe.kr/0-bio/2010-2011/2010-exh-Seoul.htm
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Dragonfly Seasons
When I was working on my series of drawings and paintings about the dragonfly in the fall of 2000, I had an interesting experience. Two dragonflies flew into my studio, and inspected my work. They flitted around my canvas and then back from whence they came. I believe these works are touched by the essence of that auspicious moment.
Late in the fall, cold wind is blowing and leaves are falling; a long winter season comes. The big dragonfly at the center of the painting has its final moment. The flutters of thousands of dragonflies¡¯ wings indicate the natural processes of change. Even with all their fervor, they are reduced to no more than a spoonful of ashes with the changing season. Like leaves, they fall to the ground breaking. The dragonflies' life mirrors ours, with its youth, adolescence, middle and old age, gone in a twinkling. The strong wing movements are like the willingness of life, and adapting oneself to nature¡¯s demand of something beyond our stagnation.
The dragonflies dart about with what seems to be smiles and love. It is the buzz of hope and life. I have painted them, at times scratching out drawings with a palette-knife. The touch of a big paint-brush represents the wind, waves, or time.
There is a truth revealed in the dynamic rhythm of freedom and control, of chaos and order. The paint itself is like life.
1, 2000, Dragonfly Flight ÀáÀÚ¸®-ºñÇàÞ«ú¼, Oil on linen 162.2x130.3cm 100F
2, Detail of #1 À§ ÀÛǰºÎºÐ
3, 2003, Dragonfly Seasons in Summer ÀáÀÚ¸®ÀÇ »ç°è-¿©¸§, Oil on linen 91x116.8cm 50F
4, 2005, Dragonfly Seasons in Winter ÀáÀÚ¸®ÀÇ »ç°è-°Ü¿ï, Oil on linen 45.5x53cm 10F
5, 2005, Dragonfly Seasons in Spring ÀáÀÚ¸®ÀÇ »ç°è-º½, Plum Blossoms in Winter °Ü¿ï-¸ÅÈ­, Oil on linen 45.5x53cm 10F
6, 2004, Dragonfly Seasons in Summer ÀáÀÚ¸®ÀÇ »ç°è-¿©¸§, Oil on linen 45.5x53cm 10F
7, 2005, Dragonfly Seasons in Fall ÀáÀÚ¸®ÀÇ »ç°è-°¡À», Oil on linen 45.5x53cm 10F


5¿ù Shandong Zhaoyuan, China(Áß±¹ »êµ¿¼º ÃÊ¿øã¼) ¡°ÃÊ´ëÀü¡± ->" ¿¬±â"
6¿ù Novosibirsk, Russia(·¯½Ã¾Æ ³ëº¸½Ãºñ¸£½ºÅ©ã¼) ¡°ÃÊ´ëÀü¡± ->" ¿¬±â"
8¿ù±¤¾È°¶·¯¸®(ºÎ»ê) ¡°ÃÊ´ëÀü¡± ->" ¿¬±â"
10¿ù VikingFramer Art Gallery (È£ÁÖ ÅÛ¹ö¸°¸¶¿îƾ) ¡°ÃÊ´ëÀü¡± ->" ¿¬±â¡°

May, (Shandong Zhaoyuan, China) ¡°Invitational¡± -> "Delay"
June,(Novosibirsk, Russia) ¡°Invitational¡± -> "Delay"
Aug,Gwangan Gallery (Busan, Korea) ¡°Invitational¡± -> "Delay"
Oct, VikingFramer Art Gallery (Tamborine, QLD, Australia) ¡°Invitational¡±->"Delay


[ÀÛ°¡³ëÆ®-ÇÁ·ÎÇÊ] - »çÁøÀ» Ŭ¸¯ÇÏ½Ã¸é ¿øº»Å©±â¸¦ º¸½Ç ¼ö ÀÖ½À´Ï´Ù.


[ÀÛ°¡³ëÆ®-ÇÁ·ÎÇÊ] - »çÁøÀ» Ŭ¸¯ÇÏ½Ã¸é ¿øº»Å©±â¸¦ º¸½Ç ¼ö ÀÖ½À´Ï´Ù.


[ÀÛ°¡³ëÆ®-ÇÁ·ÎÇÊ] - »çÁøÀ» Ŭ¸¯ÇÏ½Ã¸é ¿øº»Å©±â¸¦ º¸½Ç ¼ö ÀÖ½À´Ï´Ù.


[ÀÛ°¡³ëÆ®-ÇÁ·ÎÇÊ] - »çÁøÀ» Ŭ¸¯ÇÏ½Ã¸é ¿øº»Å©±â¸¦ º¸½Ç ¼ö ÀÖ½À´Ï´Ù.
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