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李 禹煥  1936年  大韓民国生まれ

 

1956年に来日し、以降、日本を拠点に本格的な創作活動を展開.

現代美術という時代区分において欠かせない作家の一人である李禹煥.

日本の現代美術の大きな動向である「もの派」を理論的に主導したことでも有名である.

 

※〈もの〉を単体で、あるいは組み合わせて作品とする.

それまでの日本の前衛美術の主流だった反芸術的傾向に反撥し、ものへの還元から芸術の再創造を目指した日本の現代美術の動向.

カリグラフのように字を美しく見せる書法にも通ずるような、線や点を描く行為の緊張感を感じられ、

その彼により描かれた作品は、心地よい静けさや落ち着きを感じさせてくれる.

 

また、彼の描く点や線は、繰り返し行われる描くという行為の積み重ねにより、的確なものにも感じられ、

的確である事により見る者に自由を感じさせてくれるのではなかろうか.す。

Lee U-fan  1936  Born in South Korea

Ever since arriving in Japan on 1956, he started to develop the creative projects.

Ufan is one of the few artist who is essential in the era of contemporary modern art.

He is also known for theoretically leading *"mono ha (object school)" which was a major movement in the field of Japanese contemporary modern art.

*mono ha - object school; utilizing either single or multiple objects to create a work.

A movement opposing to so called "anti art" tendency which was mainstream of Japanese avant grade field at the time,  "mono ha" created a new movement. A movement of returning to an "object (mono)" and reconstructing the creativity in Japanese contemporary modern art scene.

As beautiful and similar to the technique of calligraphy, we could feel the intensity of how he drew each lines and points... However, in all his works provide us with a sense of serenity.

Ufan's works also provide us with a sense of freedom. A sense which probably comes from his "acts" of continuous application of drawing points and lines.

It is as if his works resonate with our sense of inner world. Thus creating a new horizon to where the works and the space respond.

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