Corée du sud
2017 « La nature, on ne peut que l’accompagner, pas l’asservir », Galerie Alain Margaron, Paris
2008 « Mémoire des lieux », Galerie Alain Margaron, Paris
2009 « Contes de la Lune vague après la pluie », Galerie Alain Margaron, Paris
2011 « Traces », Galerie Alain Margaron, Paris
2014 « Les rizières du temps », Galerie Alain Margaron, Paris
2007 « Dix positions de l’art en France », Musée de Gütersloh, Allemagne
2010 « Les rizières du temps », Galerie Alain Margaron, Paris
2011 « Un souffle venu d’Asie », Centre d’art contemporain, Abbaye de Beaulieu, Ginals
2015 « Seoul, Paris, Séoul », Musée Cernuschi, Paris
1961 Born in Asan, South Korea.
1997 Moved to France.
2005 Received diploma from the Beaux-Arts de Versailles.
2006 Created a series of photographs on light, and then devoted herself entirely to painting after developing her pictorial subject: a mixture of gouache and Chinese ink that is fluid enough to respond to very little pressure from her hands, without direct intervention, on a paper previously wet with a water spray.
2007 Enters the Alain Margaron gallery.
– « Les rizières du temps », texte d’Emmanuel Daydé, préface de Christine Shimizu (Alain Margaron Editeur), 2014
– « Contes de la lune vague après la pluie », texte d’Emmanuel Daydé, (Alain Margaron Editeur), 2009
Hong InSook, born in Korea in 1962, now achieves the full dimension of a haphazard approach which brings forth paintings which are often almost photographic, and where rich and “intelligent” colors seem to photograph his souvenirs of the mountainous scenery in his native country.
His very abstract scenes are based in an extreme-oriental spirituality. They are created according to an almost automatic process of scraping, rolling and with manipulations that are difficult to control with colors that flow down and subdivide on wet paper.
His work is characterized by a luminous diffused atmosphere, the fluid frontier of a floating horizon, the allusion of a landscape rather than a clearly defined representation. He doesn’t want to present the spectator with firmly defined forms obtained by imitation, but to suggest gestating nature, submitted to constant modifications which the artist tries to bring together softly, with infinite precaution.
His work radically expands the frontiers of an ancient pictorial tradition without really attempting to knock them down. One sees in this art an interrogation and an affirmation of his own identity, but also the respect that InSook feels for the Korean Pictorial tradition.