박승예

source: highlike
Statement: When I was young, I couldn’t watch horror movies. I was said to be a timid girl who covered her eyes with her hands, but couldn’t help but running away, frightened by the sound of movies and unable to turn the volume down. As I grew up, when I made up my mind to do a bit of an experiment and watched a quite famous horror movie series, gazing it with my heart trembling, what made me embarrassedly surprised was the fact that the movie was less scary than my usual nightmare. The fear constructed by such a movie could not reproduce any of the fear made by the “imagination” in my mind and heart. The origin of the fear that threatens me and makes me feel anxious is mostly created in my imagination. Eventually, I come to realize that the true nature of the fear that I am facing is myself, which I myself construct and encounter. My works are an effort in which my internal and external individual “selves” meet and recognize each other, become aware of the irony of their differences and grope for the way of coexistence, trying to overcome the uneasy anxiety and the life of discontent through disenchantment of “being awakened.” I call it by myself, “my work is a battle ground where the monsters clash against each other.” I recognize that there is an irony as in the fact that my reflection in a mirror raises her opposite arm when I raise my arm in the real world. Another me in the mirror also notices my criteria and desire in the real world that is outside of the mirror. But both of us know very well that we coexist as one entity and cannot run away from each other. This draws out an extreme fear. I intend to depict the moment of instability where the contradictory beings meet, become distorted and disturbed, emitting anxiety. It is part of effort for my “overcoming.” I would like to accept the uneasiness and anxiety of fear and denial that are poured onto myself on the moment of coexistence by “being awakened.” I would like to overcome the fear by accepting my own contradiction, imperfection and insecurity. (Some people call the figurative outlook of my works as ‘double self-image.’) I do not want to be restrained by the fear that I generated and the imperfection of my own. The pain from the clash between my internal monster and the external monster will become a stimulant for me to be awakened.
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source: guliverlooks
Sinister contorted figurations by Korean artist Seungyea Park are beautifully precise visions and grotesque manipulations of reality. Her intricate art work, combining skilful methods of drawing and painting, displace and distort elements of the human figure with particular focus on the face and hands. Also known as Spunky Zoe, Park delineates her subjects and delicately shades them with swirling marks made with a ballpoint pen and uses acrylic paint to embellish them further. Park transforms the face in to a malleable form, altering it’s features and anatomy. She still retains a sense of three-dimensionality and realism and her creations have a strange familiarity as in botanical drawings or specimen jars that display their subjects suspended in blank space. This lack of context also implies that each figure has only themselves or we who stare at them to focus on, lending the images a strange intimacy and hauntingly direct quality. Currently based in New York, Park’s work has garnered wide spread attention not only because of its technical virtuosity but also because of its focus on fear of the unknown-an apt observation of contemporary preoccupations. Describing this as a perceived condition of ‘monstrousness’, she examines the idea that we make enemies of one another because we are ignorant of strangers. She expresses these ideas while exorcising her own fears and demons in the process of drawing. With this in mind, Park’s figures look gargoyle-like in their deformity but there still remains a complex vision of empathy and humanity. Each piece of work describes the features and gestures of a unique individual rather than a generic aggressor. The elegant sensitivity and accuracy of her draftsmanship suggests that demonising ‘the other’ in this way is the fault of the observer rather that the person who is being feared, as despite their grotesque distorted anatomy, the figures underneath are entirely normal and recognisable.
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source: paperblogfr
Spunky Zoe travaille une esthétique singulière. La dessinatrice représente de façon surréaliste une dualité psychique et formelle dans ses images – la bataille de ses deux monstres – l’intérieur et l’extérieur. Spunky Zoe vit et travaille à New-York.
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source: discusionez
No es sencillo encontrar información sobre el artista Spunky Zoe, pero sí sabemos que sus obras forman parte , cada vez más, de galerías y exposiciones de todo el mundo. Con grafito y acrílico están materializadas las imágenes de este genio plástico, en las que el terror oriental y la ciencia ficción, son influencias muy patentes. Pero, ¿no sería injusto el quedarnos sólo con esta lectura superficial?; el interior de Spunky Zoe estoy segura que guarda mucho más….Lo mosntruoso, lo extraño, el otro se une al ser humano en ese carácter metamórfico del ser y nos ayuda no sólo a buscar los límites de nuestra esencia, sino a estudiarnos a nosotros mismos y a crear el mapa de nuestra propia identidad
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source: plginrt-project
韓国人アーティストSpunky Zoeさんのドローイング作品をご紹介します。ボールペンとアクリル絵の具で描かれています。拡大してみるとわかるのですが、線が網のように複雑に絡み合い肌を形成しています。見ているこちら側に視線が向けられており、まるで睨んでいるかのようにも見えますね。一度見たら忘れられないインパクトのある作品です。