While saying that “drawing is similar to go astray in the dark forest,” the artist added that “despite my concerted efforts to catch the object, it continues to move in vibration without revealing its clear identity to me.” If his drawings feel like “go[ing] astray in the dark forest,” it is because “[the object] continues to move in vibration,” not the other way around. […] Put differently, what precedes is not the forest and darkness; rather, a tree or the object as such disperses “in vibration” in a way indistinguishable from the forest and darkness. At stake is not so much the clearly delimited ‘lines of the forest’ as ‘the forest of lines,’ or ‘lines as forest’ which “continue to change their roles in vibration” without remaining as stable lines. […] figure for Park is always already in time, accompanied by the possibility of destruction or transformation. […] This ‘ambiguity’ indicates that the temporality Park’s drawings capture is far from linear and chronological, that it is ‘suspended’ at particular moments.
I came up with some core questions and one of them concerned colors. As ‘Nevermore,’ the title of this new exhibition- while clearly referencing Edgar
Excerpt from Drawing After ‘Figure and Ground’ (or William Kentridge):
Adventures of Park Gwangsoo and Transformation of Drawing in Digital Age
Yung Bin Kwak (Art Critic / Cinematic Arts Ph.D)