STUDIES ON PAINTING

Park’s recent works attempt to break down the customary application and creative techniques used within painting while investing entirely in this regimented tradition. Subsequently, viewing this as a “painting exhibition” allows the artist to uphold customary compositional rules while attempting things that seem impossible in narrative-biased painting.

The interest in action painting comes from the inevitable gap between the narrative-oriented conversational discourse, which trys to find meaning in an image rather than embracing intuitive expression. The painterly gestures, lines, and colors within the work harken historical yet obscure references where meaning is derived from a shape’s signified interpretations. Thus, each brush stroke becomes an independent element of the fully realized art object, causing even a concrete or abstract element within the work to function as a basic unit that contributes it’s intrinsic conceptual weight towards an amalgamated lexicon of histories and cultural articulation.