Poppies

Jung Hur

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Keywords: Scale paintingKoreaAbstract ExpressionismKorean ContemporaryMulti perspectivesContemporary RealismConceptual ArtAbstractAcrylic ArtCanvasKeyholeYing YangMirrorPoppie

Work Overview

The scripts is written by E-Moderne Gallerie and copyright protected --

This painting balances the intentional tension between the muscularity of the big, bold painting and the particularly tender floral forms. The flower forms relate to, are made out of Hur’s SIGNATURE keyhole forms, which ultimately come into focus when the viewer switches from seeing an object to taking a closer look at the image. The behind-the-scenes quality of the forms and flowers offers up a subtle and deeply nuanced sense of almost biological complexity.

When we return to the clarity of the original high contrast imagery, only to wander off into the jungles of perception, experience, and meaning. This work plays witty but philosophical games with ideas like the field of the painting and a field of flowers, a connection that pushes past the expected horizon line.

The physical reality and dynamic force of this floral still life insist on the living presence of the maker, the viewer, the actions of art and the vital substance of the subject.


Exhibition History
The White Box Gallery, NYC
The Owen Gallery, Bethel, Maine
The Corey Daniels Gallery, Maine
The Lunder Gallery, Maine
E-moderne Gallerie, Philadelphia

Publication
Art New England

Jung Hur grew up in Seoul South Korea, He studied traditional Korean Brush technique and earned his MFA in painting from Hongik University. Jung in several one-person exhibitions in Seoul, South Korea, before emigrating to the United States in 1998. He created a highly acclaimed Michelin Star restaurant Kirara in the West Village, NYC. But Jung never give up his work as an artist, when time allowed, Jung made discrete experiments integrating his art within his food preparations. 

In 2008 he moved to Portland Maine to establish a studio and work full time to bring his art vision to reality. A vision had been fermenting for 20 years, on how to create an integrated art of food and combine into painting. The project finally made public for the first time in Portland in December of 2013. Since then Jung had been exhibited at the White Box Gallery in NYC, the Art Gallery at the University of Maine at Farmington, the Owen Gallery at Gould Academy in Bethel, and the Corey Daniels Gallery in Wells, Maine. Hur’s paintings were featured in the Lunder Gallery at the Maine College of Art’s Institute of Contemporary Arts.

For the first time in 2017, Jung exhibiting his work in Philadelphia at The E-Moderne Gallerie. Followed by exhibitions in Boston, Seattle, and Korea all in the first six months of the year. 

Jung's exploration of abstract painting integrates image and ground through processes that suggest the inexorable repetition of birth and rebirth. The signs in their positive and negative aspects permeate the tissue of Hur’s art. 

Jung’s paintings have included his personal symbol, a stylized pair of shapes that represents a key and keyhole. He uses these symbols to activate many ideas, but one of the most obvious things is to deny the assumption of single-point perspective. 

A single keyhole is a model for single-point perspective. Jung rarely uses one keyhole in his paintings; he often covers his large canvases with the symbol to a great clusters or grids. He tilts them, so the shape becomes an oval — a circle seen at an angle. 

He often put different shadows on them; the shadows also rebel against the idea of a single light source. I also switch between the key and keyhole shapes to further vary the idea and to convey the notion of Yin-Yang which formed the basis of his philosophical understanding of the world.