Soon Yul Kang is appearing in a solo exhibition in Rome. The exhibition LIGHT POETRY, curated by Vittoria Biasi at LA NUOVA PESA contemporary art gallery in Rome, is two solo shows one by Soon Yul Kang a Korean artist based in London and the second by Andrea Santarlasci an Italian artist based in Pisa.
Soon Yul Kang shows a meditative hand writing work on linen canvas with the Korean word 사랑[sarang] (LOVE) repeatedly, also paper collage works hand written with the Korean words 마음 (Heart/Mind), 사랑 (Love), 엄마 (Mother) on Korean mulberry paper Hanji and a photography work titled Mother’s Pray (Cheongwhasoo 정화수).
LA NUOVA PESA
Contemporary Art Gallery
17 February – 1 April
Andrea Santarlasci – Soon Yul Kang
Curator: Vittoria Biasi
Soon Yul Kang: LOVE (2016) (detail): hand writing on linen canvas, 135x135cm.
Mallarmé compared the written word to the power of a starry sky, thereby opening up the possibility of a communion between light and poetry, this becoming the aura of craftsmanship, elaborated by man’s rituality around the luminous sign. It is from personal experience, ‘enlightened’ by history, that the project of the exhibition ‘The Light and the Poet’ originated, through the creative – ritualistic meeting of artists Andrea Santarlasci and Soon Yul Kang: it is a conscious dialogue between the twentieth century of the West and the rituality of the East, lived as an aesthetic possibility faced with the inexpressible, contained in the manifestation of light and its writing. The distance between the borderlines of these two ways of expression is the space-time in which light organises its creative tension.
According to Soon Yul Kang, writing is a moment of poetic and dramatic standstill, where something empties itself of its subjectivity, to acquire a rhythm which goes immeasurably beyond its own boundaries. The ritual repetition of words marks the historical path that humankind has to travel through day in and day out, to gain steady interior mobility as in a Zen meditation.
For Andrea Santarlasci, shadow is the constant manifestation on the other side of the cone of light, as seen in the relationship between knowledge and its inexhaustible conquest. The loss of the relationship between the object and its shadow pushes imagination towards the threshold of research and memory.
Both projects, through different paths, are reflections on the ethereal origin of the symbol, which transmigrates from the elusive world of ideas to the terrestrial realm, finding its harbour and its boundaries on the thresholds of white and light; they also reflect on its trans-cultural value, which crosses the histories of all countries with different configurations and conveys systems which are in a constant state of change and mutation.
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