KHE DON BEK

PAINTING ARTIST

Khe Don Bek was born in a seaside village in Korsakov City, Sakhalin, Russia. He is a second-generation writer, Коре́йский in local language, and Goryeoin in Korean. Japan, which was defeated in World War II, sent ships to carry its own people, but ships for Koreans did not come to the end. The generation of parents who were forcibly moved to Sakhalin were left in the area, and settled in the port village to heal the cold of the ruin. The cell structure is a peculiar point that can be seen in the artist's paintings. In fact, the artist's paintings form a shape as cells, monads, terminals, and pixels are integrated as a fortress. Depending on how the cells gather, it can be a conch, a butterfly, or a cloud. It has a variable and metamorphic shape structure, and the shape structure connects with that of a surrealist vision. Cells here may be called particles of nostalgia. Eventually, longing became air, and the air scattered and gathered to form one or another shape, combing the world that the artist imagines.


Works

Words

CRITICISM

Longing for a seaside village, hometown, and the source of existence


Koh, Chung-Hwan (Art Critic)

Artist Khe Don Bek was born in a seaside village in Korsakov City, Sakhalin, Russia. He is a second-generation writer, Коре́йский in local language, and Goryeoin in Korean. Japan, which was defeated in World War II, sent ships to carry its own people, but ships for Koreans did not come to the end. The generation of parents who were forcibly moved to Sakhalin were left in the area, and settled in the port village to heal the cold of the ruin. After that, Ansan City provided the apartment construction site in the form of a long-term lease, and a hometown village for Sakhalin compatriots was built in the Sangnok Tree Village that was formed. In 2000, after twists and turns, the artist's parents came to Korea, and the artist also gave up his stable life as a professor in Russia and came to Korea to serve his parents. Even now, the artist's family lives in Russia (refer to Virgil America 22, 2012 Volume 2 for the artist's identity).

Although this is a summary of the artist's identity, his life is a typical case that can be viewed as the epitome of the so-called diaspora, or forced settlers. In the theory of art, there is a position that reality (and therefore life) and art are separate domains. On the other hand, there is a position that art cannot be a separate domain as it is a reflection of reality. Rather than seeing that one is right and the other is wrong, it is reasonable to see it as a case that reflects a different point of view of art. If so, what about the writer? When looking at the artist's painting without prior understanding of the artist's personal background, it does not seem like art that reflects reality (for example, realist art), but as a painting that opens his own fantasy in relation to a surrealist vision. It is read as an example of one's own original form. By the way, is the real life that the artist would have been through and the fierce perception of reality has nothing to do with the painting? It is not. The artist's paintings should be viewed as a case that reflects the fierce perception of reality and is a life that is in a different way from realist art. And for that other way, it should be viewed as a case of introducing and adapting (self-made) a surrealist vision. Here is the specificity of the artist's work. It is a picture that reflects one's own life and projected reality perception against a surrealist vision. However, clarifying why it is a surrealist vision and how to reflect reality in a surrealist vision will be the key to understanding the artist's work.

As is well known, Surrealism inherits Freud's programme. And Freud defines humans as animals of desire. Therefore, individual humans are inevitably anti-institutional and anti-social. Because desire tries to realize itself, and institutions suppress that desire. Therefore, somehow suppressing, monitoring and controlling individual desires depends on the success or failure of all sound and healthy institutions. It is a dream and an art that the desires that are frustrated in reality, the desires that are suppressed, and the desires that have been expelled from the unconsciousness can indirectly realize themselves. Here, the dream includes a suppressed reality, so it is a more extreme reality than the reality. And art reflects that extreme reality. Such art through surrealism reflects reality in a different way from realism. It is to see the frustrated desires, the suppressed desires, and the desires expelled unconsciously from reality as a mirror that reflects reality.

By the way, what suppressed and frustrated desires can be seen in the mirror of the unconscious that the artist exemplifies? Georg Zimmel is a symptom of a modern man, and as a symptom, he has a feeling of loss of his hometown. Here, hometown also means a geopolitical place, but rather, it means a sense of presence, an emotion about the source of existence, and therefore a sense of root. It is believed that modern people have lost their sense of presence and root consciousness, and the signs and symptoms are expressed as feelings of loss for their hometown. In the artist's paintings, there is a sense of loss for Karreyski's hometown, and there is a longing for his hometown. Earlier, the author said that he was born in a seaside village in Sakhalin. So, there are many unique seaside scenery in the artist's paintings. It depicts the hometown as a geopolitical place, the hometown as a spiritual dwelling place, and the longing for the hometown beyond the far-off reality that cannot be grasped. Therefore, the sea frequently in the artist's paintings should be viewed as a metaphor for boundaries. Reality and unreality, reality and surreality, dream and reality, and the unconscious and conscious world must be viewed as a boundary that separates the world. Standing in front of that visible and invisible boundary, the artist misses the source from which existence originated, and paints the longing.

There are barriers installed here to prevent land loss. As the years passed, the barriers were struck and tattered by seawater and sea breezes. The artist combed the figures of people looking up to the sky on the part that was so dent and tattered. The years have passed so that the barriers are broken and tattered, and the wounds of those who have deepened as much as those years, the sense of oblivion, and the longing for their hometown. And here is (Time New). Time? It is a coined word created by the author. At first glance, it seems like a landscape where the sea with ripples and the sky flowing with floating clouds correspond to each other, bordering on the far-off horizon. However, if you look still, the pattern created by the floating clouds and the pattern of ripples are like the wings of a giant bird. Birds that are huge enough to cover the sky and sea are flying through the landscape. That way, the landscape became a bird. If you look at the landscape long enough to become distant, the landscape becomes a bird at last. Although I cannot cross the border, I can send a bird as a messenger of longing instead. So it’s time. The years accumulated by longing were incarnated into a new one. And there is a huge whale. In fact, it is a shape made by clouds. Like underwater, cloud whales can swim across the sky and go beyond the border. You can send your longing over the border instead.

The artist borrowed a surrealist vision to portray a sense of loss for his hometown, a sense of oblivion, and therefore a longing for his hometown. The motive to note here is the cloud. Clouds do not have a specific shape. Its form is variable and changeable. That's exactly the case with a surrealist vision. The form that the surrealist vision opens is also variable and impermanent. The metamorphosis deserves to be the hallmark of a surrealist vision. The imagination (strictly, the unconscious desire) becomes the medium and transforms the reality into an arbitrary and arbitrary transformation. It's a way to expand reality. When the transposition of things, that is, the arrangement (and relationship) of the things, changes, the meaning also changes. Thus, the form is expanded and the meaning is expanded. Therefore, it is a way to expand the world.

Previously, the artist said that the seaside village was his hometown. So, in the artist's paintings, there are many materials that originated from the seaside. They are materials such as clamshell and conch. Sora also has a part that communicates with the sense of delusion. For example, my ears are also supported by Jang Kokto's poem, saying that I miss the sea shell and the sound of the sea. The conch shell looks just like an ear. So, when you look at a conch shell, you seem to see your ears listening to the sounds coming from the beach. Here, the poem to miss the sound of the sea means to miss the source of existence that would have been carried by the sound of the sea, be on the other side of the sea with no bottom or end, and in the past, even the sea would have originated. . Perhaps that's why the artist names Sora's painting as (Sora's Dream). As we have seen, dreams are a field in which surrealistic visions open themselves, and desires suppressed in reality indirectly realize themselves. In this way, the artist borrows Sora's ears to listen to the sound that comes from the source where the existence originated.

And earlier, he said that the cloud and the surrealist vision communicate with each other. He said that the shape of the cloud does not have a specific shape. He said it was variable and non-deterministic. He said that the surrealist vision is exactly that. Surrealist vision transforms reality into arbitrary and arbitrary forms, which he called metamorphosis. As such, the conch is like a butterfly with its wings flapping its wings, and the pattern created by the conch's curvature expands into clouds and becomes a part of the landscape. Here, the butterfly is probably focused on morphological similarity, and that similarity connects with the surrealist vision. And it can be seen as another case of messenger that will carry longing to the other side of reality itself. Thus, longing transforms the conch into a butterfly, into a cloud, and conventionally becomes a landscape by itself. It is a landscape in which nostalgia melts, a landscape created by nostalgia, and a landscape like the incarnation of nostalgia.

Here, the cell structure is a peculiar point identified in the artist's paintings. In fact, the artist's paintings form a shape as cells, monads, terminals, and pixels are integrated as a fortress. Depending on how the cells gather, it can be a conch, a butterfly, or a cloud. It has a variable and metamorphic shape structure, and the shape structure connects with that of a surrealist vision. Cells here may be called particles of nostalgia. Eventually, longing became air, and the air scattered and gathered to form one or another shape, combing the world that the artist imagines. In this way, the artist drew a living and breathing sea within himself, and painted a landscape like an incarnation of longing. He painted a circular consciousness that goes back to the origin of existence. It would be good to call it a fantasy wave, which is rare in Korea.

C.V

profile about Khe Don Bek

1970-1974 B.F.A. Graduate from Dept.of Applied and Decorative Arts.Irkutsk Art College, Russia.
1976-2000 Korsakov Art School, Russia. Art Department. Teacher.

Solo Exhibition
2020 Gallery Artcelsi, Seoul
2019 Art Ulsan 2019, Korea
2015 Park Avenue Gallery, Los Angeles, USA
2015 Wee Gallery Phoenix, USA
1999 Exhibition Korsakov, Sakhalin Regional Museum, Russia
1998 Exhibition of Korsakov artists in Wakkanai, City Hall, Japan
1991 Korean Artists in Sakhalin, Yuzhno-Sakhalininsk, Russia
1985 ⅡExhibition of Korsakov artists Korsakov, Russia
1983 ⅠExhibition of Korsakov artists Korsakov, Russia
1980 Exhibition of sakhalin Region artists – Teachers Art schoolsin, Yuzhno-sakhalinsk, Russia

Group Exhibition
1980 Exhibition of Sakhalin Regionartists-teachers Art Schools in Nevelsk, Russia.
1983 I Exhibition of Korsakov artists. Korsakov, Russia.
1985 II Exhibition of Korsakov artists. Korsakov, Russia.
1991 Exhibition of Korean Sakhalin artists.Yuzhno-Sakhalinsk, Russia.
1996 Exhibition ofSakhalin Region artists-teachers Art Schools.
1997 Exhibition dedicated to 300 year anniversary of Kuril Islands liberation. Yuzhno-Sakhalinsk, Russia.
1998 Exhibition-competition ‘Music Image’ arranged by Europa Plus radio station. 3rd place ranked. Yuzhno-Sakhalinsk, Russia.
1998 Exhibition of Korsakov artists in Wakkanai, Japan.
1999 Exhibition of Artists Union. Exhibition Hall of Artists Union of Russia in Sakhalin Region.
1999 Solo exhibition. Korsakov, Sakhalin Regional Museum, Russia.
1999 III Exhibition of Korsakov artists. Korsakov, Russia.
2006 самчун, тут удалите или дописать надо что-то в 2006
2010 Ansan International Art Fair. AIAF. Ansan. Korea. 2010-2013
2010 Exhibition at Nahrah Gallery of Fort Lee. New Jersey, USA.
2010 Philoprint. PyongFa Gallery, Exhibition atMyongdong Catholic Church.Seoul, Korea.
2010 Philoprint:Exhibition at Pyongfa Gallery, Seoul.
2010 Philoprint at Gallery Hwan.Insadong, Seoul, Korea.
2010 KPAA Exhibition.Choengju, Korea
2011 Exhibition at Ansan International Art Fair,AIAF. Ansan, Korea.
2011 Philoprint at PyongFa Gallery. Seoul, Korea.
2011 KPAA Exhibition at Korean Art Center. Songnam, Seoul, Korea.
2011 Exhibition at Korean Art Festival,At Korean Art Center. Seoul, Korea.
2012 Exhibition at Gallery Sky Yeon. Seoul, Korea.
2012 Korean-English International Exhibition. Kingston City, Market House, England.
2012 Philoprint at Pyongfa Gallery. Seoul, Korea.
2012 Ansan International Art Fair. Ansan, Korea.
2013 Vergil America Special Project.Blowing Flags in San Bernandino, USA.
2014 28thPhiloprint at Art Center Hyehwa. Seoul, Korea.
2015 Exhibition at Wee Gallery. Phoenix, USA.
2015 Exhibition at Park Avenue Gallery. Los Angeles, USA.
2015 2016 PhiloprintExhibition of Korean Contemporary Prints. Los Angeles, USA.
2015 Korea Professional Artist Mall Festival, Art Center. KPAA. Seoul, Korea.
2017 Art Exhibition. COEX B Hall, Seoul, Korea.
2017 Philoprint Exhibitionat Insa Art Space, Seoul, Korea.
2017 GIAF 2017. CECO Exhibition Hall. Gygnam, Seoul, Korea.
2017 Korean Contemporary Art Society Exhibition at GalleryGoulyu Chum.Pochon, Korea.
2017 Art Gyeonwu Exhibition at HICO.Kyongju, Korea.
2018 Daegu Art Fair at EXCO, Daegu, Korea.
2018 Art Show Seoul at COEX. 1F HALL. Seoul, Korea.
2018 Busan International Art Show, BEXCO. Busan, Korea.
2019 Talk Art ‘Mix and Match’ Exhibition, Seoul, Korea.
2019 Freedom 2019 Exhibition at Yangpyeong Art Museum. Yangpyeong, Korea.
2019 Freedom 2019 Exhibition at Fukuoka Asian Art Museum. Fukuoka, Japan.
2020 Freedom 2020 'Adieu Dystopia Exhibition at Gallery Artcelsi, Seoul

Art Association Membership
Member of Korean Contemporary Art Society Exhibition
Member of Korean Professional Artist Association
Member of Seoul Art Association


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