|▲ East Side Story-13, 64×52inch oil on canvas, 2004|
In this regard, Kim(서양화가 김명식,김명식 작가) can be compared to such comtemporary American expressionist as George Mc Neil and Jay Milder, who adopt the directness of children's paintings to invest their pictures with an adult depth of feeling.
In another painting in the series simply entitled "Hometown, Kodegi Hill," in contrast to the sunier hues in the previeous composition, Kim employs a somewhat more somber palette.
|▲ Pop Flower A-28, 45×45㎝ oil on canvas, 2002|
Vigorously brushed strokes of gray, blue, and back are massed at the center of the composition to convey the sense of a landscape viewed through darker mists of memory, with the surrounding areas of the white paper left bare.
Although this compositional spareness is a future of much Asian art, here it serves to suggest a sense of isolation, of how a melancholy nostalgia often seems to exit in a kind of void, apart from all that makes up the present and the daily events of one's life.
|▲ East Side Story-12, 48×36 in oil on canvas, 2004|
The visual information in another painting in the series is considerably more specific, even while the composition is abstractly schematized, with the outlines of small dwellings and foliage scrawled loosely over roughly rectangular areas of subdued color.
|▲ East Side Story-17, 46×36 in oil on canvas, 2004|
In yet other composition. however, Kim(キムミョンシク,Andy Kim,김명식 교수,金明植,김명식 화백) treats similar landscape subjects in a more buoyant manner, blocking in the various elements in bright primary hues accented by a lively linear calligraphy of strokes and dashes.
In the latter paintings Kim, Myung-Sik, who has exhibited widely in his native Korea and whose work is in numerous public and private collection, seems to suggest how even the most haunting memories are invariably acompanied by an irrepressible sense of joy.
△by Marie R Pagano/Monthly Magarzine The Gallery and Studio in New York.