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EXHIBITIONS
Hakgojae Gallery
HEO Suyoung

 

Each of Suyoung Heo’s paintings is made by piling observations, imaginations, contemplations, strokes of paint, and drawings upon each other over extensive durations. Heo aspires to examine and paint his object directly with consecutive brushstrokes and without any preliminary drawings, and in the process, he also attempts to free himself from representationalism. He winds time and compresses and condenses it until all movements are gone, which results in a painting, a still image. Yet, when the viewer inspects the painting, the temporality contained uncoils outwards. The image created at the beginning of the relaxation cycle absorbs Heo’s soul. Here, temporality manifests in the form of tactile images, and in the process, we are allowed a brief peek into the sheer depth of Heo’s experience.

 

Temporality entices us because it can traverse, disperse, and crunch the universe and worlds. Heo’s images of multiple horizons cut through countless times and viewpoints, and he travels toward a realm that could only be seen through painting or by eyesight. By painting endless instances of representational images, Heo, one step at a time, makes progress into the exterior of representationalism.

 

 

 

Excerpt from The Dancing Light and a World of Ecstasy” |  No Am Kim (Art critic)

 

 

Suyoung Heo layers his unreal experiences — the coming and disappearing of nature and his microcosmic and macrocosmic experience of it — in an unbroken continuity onto a single surface, and the resulting painting traverses between realism vs. abstract, representation vs. non-representation, image vs. materiality, reality vs. surreal, painting vs. erasure, and memory vs. oblivion. Thus, Heo’s landscapes, instead of depicting nature, reveal bewildering, unfamiliar nature and creations never seen before. The unearthly nature presented by him is not the nature men have established through symbolism, but nature as “the primal force and the causal origin of everything,” in other words, as chaosHeo’s ultimate value is in “painting as creation instead of reproduction,” which does not describe anything or be put in words. Such a painting might be the “sincerity in painting” he discusses and gradually closes in on the true nature of painting. 

 

 

 

 

  

 

Excerpt from Suyoung Heo – Painting as Creation Instead of Reproduction” |  

Young Taek Park (Professor and art critic, Kyounggi University)

 

Artworks
HEO Suyoung
Space 01

2022

Oil on canvas

91x117cm

HEO Suyoung
Space 03

2022

Oil on Korean paper

162x227cm

HEO Suyoung
Space 04

2022

Oil on canvas

97x130.3cm

HEO Suyoung
Untitled 02

2018-2022

Oil on canvas

25x25cm

HEO Suyoung
Untitled 03

2018-2022

Oil on canvas

30x40cm

HEO Suyoung
Untitled 10

2022

Oil on canvas

116.8x91cm

HEO Suyoung
Untitled 11

2022

Oil on canvas

35x162cm

HEO Suyoung
Untitled 13

2022

Oil on canvas

45.5x53cm

HEO Suyoung
Untitled 14

2022

Oil on canvas

45.5x53cm

HEO Suyoung
Untitled 15

2022

Oil on canvas

45.5x53cm

HEO Suyoung
Untitled 16

2022

Oil on canvas

45.5x53cm

HEO Suyoung
Untitled 17

2022

Oil on canvas

25x25cm

HEO Suyoung
Untitled 18

2022

Oil on canvas

25x25cm

HEO Suyoung
Untitled 19

2022

Oil on canvas

25x25cm

HEO Suyoung
Untitled 20

2022

Oil on canvas

200x450cm

HEO Suyoung
Fungi

2010-2022

Oil on canvas

162x390cm

HEO Suyoung
Yangsandong 05

2013-2022

Oil on canvas

210x147cm

HEO Suyoung
Grass 04

2018

Oil on canvas

18x14cm

HEO Suyoung
Grass 05

2018-2022

Oil on canvas

216x171cm

HEO Suyoung
Taipei 01

2018-2022

Oil on canvas

30x40cm

HEO Suyoung
Untitled 04

2018-2022

Oil on canvas

25x25cm

HEO Suyoung
Untitled 12

2022

Oil on canvas

80x250cm

HEO Suyoung
Untitled 09

2018

Oil on canvas

91x117

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