Cheolyu Kim

Journey #36 (monochrome grey black pen drawing wood detailed oriental biomorphic

2018

Cheoluy Kim’s practice examines the blurred frontier between perceived reality and fantasy. His work is informed by a childhood growing up on the border of North and South Korea in Gosung. There, he grew fascinated by all the fauna and flora he observed from his village surrounded by mountains, as well as the air balloons carrying political propaganda. He witnessed everything in the sky. This instilled a deeply rooted reflex to imagine a fantastical world beyond the physical frontiers he was bound by. Cheolyu Kim studied and obtained his master in sculpture, although, his current practice is entirely devoted to pen drawing on either paper or wood. Either bicolored or monochrome, the artist's typically limited chromatic palette gives room for an intense focus on detailed compositions, tonal gradients, and multiple perspectives. Kim’s background in sculpture is evident in the carved-like volumes of the elements in his drawings. Fine moire and cross-hatching are used for textures and shading in the drawn sections while the paper or wood is left fully exposed in other areas. Imaginary fauna and flora abound which contributes to a rather biomorphic aura to his work. All the while, indigenous, modern and futuristic architectural structures are erected and confuse any sense of fixed temporality. Rather, it projects us into a phantasmagorical universe where past, present and future collapse into one. Some perspectives are even skewed disrupting our contemplation. Totemic poles, origami-shaped creatures, and aquatic vegetation coexist fluidly in Kim’s oniric visions. His fine-detailed patterned dreamscapes engage the viewer actively; we are called upon to discover how do all the various entities interact over the multiple receding planes building up to Cheolyu's surrealist ecosystems. keywords; wood, pencil, rings, circles, moire, highly detailed, geometric abstraction, intentionally exposed support, line form and color, monochrome, curvilinear forms, Korean art, dynamism, contemporary minimalism, graphism, repetition, engaged with traditional Korean art...

Cheoluy Kim’s practice examines the blurred frontier between perceived reality and fantasy. His work is informed by a childhood growing up on the border of North and South Korea in Gosung. There, he grew fascinated by all the fauna and flora he observed from his village surrounded by mountains, as well as the air balloons carrying political propaganda. He witnessed everything in the sky. This instilled a deeply rooted reflex to imagine a fantastical world beyond the physical frontiers he was bound by. Cheolyu Kim studied and obtained his master in sculpture, although, his current practice is entirely devoted to pen drawing on either paper or wood. Either bicolored or monochrome, the artist's typically limited chromatic palette gives room for an intense focus on detailed compositions, tonal gradients, and multiple perspectives. Kim’s background in sculpture is evident in the carved-like volumes of the elements in his drawings. Fine moire and cross-hatching are used for textures and shading in the drawn sections while the paper or wood is left fully exposed in other areas. Imaginary fauna and flora abound which contributes to a rather biomorphic aura to his work. All the while, indigenous, modern and futuristic architectural structures are erected and confuse any sense of fixed temporality. Rather, it projects us into a phantasmagorical universe where past, present and future collapse into one. Some perspectives are even skewed disrupting our contemplation. Totemic poles, origami-shaped creatures, and aquatic vegetation coexist fluidly in Kim’s oniric visions. His fine-detailed patterned dreamscapes engage the viewer actively; we are called upon to discover how do all the various entities interact over the multiple receding planes building up to Cheolyu's surrealist ecosystems. keywords; pencil, rings, circles, moire, highly detailed, geometric abstraction, intentionally exposed support, line form and color, monochrome, drawing on paper, curvilinear forms, Korean art, dynamism, contemporary minimalism, graphism, repetition, engaged with traditional Korean art...

Cheoluy Kim’s practice examines the blurred frontier between perceived reality and fantasy. His work is informed by a childhood growing up on the border of North and South Korea in Gosung. There, he grew fascinated by all the fauna and flora he observed from his village surrounded by mountains, as well as the air balloons carrying political propaganda. He witnessed everything in the sky. This instilled a deeply rooted reflex to imagine a fantastical world beyond the physical frontiers he was bound by. Cheolyu Kim studied and obtained his master in sculpture, although, his current practice is entirely devoted to pen drawing on either paper or wood. Either bicolored or monochrome, the artist's typically limited chromatic palette gives room for an intense focus on detailed compositions, tonal gradients, and multiple perspectives. Kim’s background in sculpture is evident in the carved-like volumes of the elements in his drawings. Fine moire and cross-hatching are used for textures and shading in the drawn sections while the paper or wood is left fully exposed in other areas. Imaginary fauna and flora abound which contributes to a rather biomorphic aura to his work. All the while, indigenous, modern and futuristic architectural structures are erected and confuse any sense of fixed temporality. Rather, it projects us into a phantasmagorical universe where past, present and future collapse into one. Some perspectives are even skewed disrupting our contemplation. Totemic poles, origami-shaped creatures, and aquatic vegetation coexist fluidly in Kim’s oniric visions. His fine-detailed patterned dreamscapes engage the viewer actively; we are called upon to discover how do all the various entities interact over the multiple receding planes building up to Cheolyu's surrealist ecosystems. keywords; pencil, rings, circles, moire, highly detailed, geometric abstraction, intentionally exposed support, line form and color, monochrome, drawing on paper, curvilinear forms, Korean art, dynamism, contemporary minimalism, graphism, repetition, engaged with traditional Korean art...

Cheoluy Kim’s practice examines the blurred frontier between perceived reality and fantasy. His work is informed by a childhood growing up on the border of North and South Korea in Gosung. There, he grew fascinated by all the fauna and flora he observed from his village surrounded by mountains, as well as the air balloons carrying political propaganda. He witnessed everything in the sky. This instilled a deeply rooted reflex to imagine a fantastical world beyond the physical frontiers he was bound by. Cheolyu Kim studied and obtained his master in sculpture, although, his current practice is entirely devoted to pen drawing on either paper or wood. Either bicolored or monochrome, the artist's typically limited chromatic palette gives room for an intense focus on detailed compositions, tonal gradients, and multiple perspectives. Kim’s background in sculpture is evident in the carved-like volumes of the elements in his drawings. Fine moire and cross-hatching are used for textures and shading in the drawn sections while the paper or wood is left fully exposed in other areas. Imaginary fauna and flora abound which contributes to a rather biomorphic aura to his work. All the while, indigenous, modern and futuristic architectural structures are erected and confuse any sense of fixed temporality. Rather, it projects us into a phantasmagorical universe where past, present and future collapse into one. Some perspectives are even skewed disrupting our contemplation. Totemic poles, origami-shaped creatures, and aquatic vegetation coexist fluidly in Kim’s oniric visions. His fine-detailed patterned dreamscapes engage the viewer actively; we are called upon to discover how do all the various entities interact over the multiple receding planes building up to Cheolyu's surrealist ecosystems. keywords; wood, pencil, rings, circles, moire, highly detailed, geometric abstraction, intentionally exposed support, line form and color, monochrome, curvilinear forms, Korean art, dynamism, contemporary minimalism, graphism, repetition, engaged with traditional Korean art...

Cheoluy Kim’s practice examines the blurred frontier between perceived reality and fantasy. His work is informed by a childhood growing up on the border of North and South Korea in Gosung. There, he grew fascinated by all the fauna and flora he observed from his village surrounded by mountains, as well as the air balloons carrying political propaganda. He witnessed everything in the sky. This instilled a deeply rooted reflex to imagine a fantastical world beyond the physical frontiers he was bound by. Cheolyu Kim studied and obtained his master in sculpture, although, his current practice is entirely devoted to pen drawing on either paper or wood. Either bicolored or monochrome, the artist's typically limited chromatic palette gives room for an intense focus on detailed compositions, tonal gradients, and multiple perspectives. Kim’s background in sculpture is evident in the carved-like volumes of the elements in his drawings. Fine moire and cross-hatching are used for textures and shading in the drawn sections while the paper or wood is left fully exposed in other areas. Imaginary fauna and flora abound which contributes to a rather biomorphic aura to his work. All the while, indigenous, modern and futuristic architectural structures are erected and confuse any sense of fixed temporality. Rather, it projects us into a phantasmagorical universe where past, present and future collapse into one. Some perspectives are even skewed disrupting our contemplation. Totemic poles, origami-shaped creatures, and aquatic vegetation coexist fluidly in Kim’s oniric visions. His fine-detailed patterned dreamscapes engage the viewer actively; we are called upon to discover how do all the various entities interact over the multiple receding planes building up to Cheolyu's surrealist ecosystems. keywords; wood, pencil, rings, circles, moire, highly detailed, geometric abstraction, intentionally exposed support, line form and color, monochrome, curvilinear forms, Korean art, dynamism, contemporary minimalism, graphism, repetition, engaged with traditional Korean art...

keywords; wood, pencil drawing, monochrome, highly detailed, Korean art, dansaekhwa, oriental art, circles, moire, geometric abstraction, intentionally exposed support, line form and color, curvilinear forms, dynamism, contemporary drawing, graphism, repetition, engaged with traditional Korean art...

"Poppy Winged Hybrid Butterfly and Giant Gold Lily" is an original mixed media piece by David Barnett, signed in the lower right. It incorporates giclee printing, watercolor, iridesc...

This piece titled "red maps" is an original artwork by Miriam Singer and is made of pencil, marker, acrylic on panel.This piece measures approximately 31”h x 41”w and ships in the pi...

Pastel blue, gray and white abstract surrealist drawing by artist T. Moore. The drawing depicts a calm ocean under a big white cloud. This piece has some impeccable details and is a ...

An acrylic and caran d'ache abstract drawing of the moment in the season when it is so crips and quiet that your shoes make clear tracks frozen in the snow. This drawing was produce...

An acrylic and caran d'ache abstract drawing of that special, soft purple light that shimmers on the snow at sunset in winter. This drawing was produced during my November 2017 resi...

An acrylic and spray paint abstract drawing of the Gihon River in Johnson, Vermont. This drawing was produced during my November 2017 residency at Vermont Studio Center in Johnson, ...