A Comprehensive Look at Nam Chunmo's Artistic World at Lian Gallery Seoul
Showcasing 16 Works Including Paintings and Sculptural Pieces
Lian Gallery Seoul is holding a solo exhibition by artist Nam Chunmo, titled 'From the Lines,' through October 15. The exhibition presents 16 poetic paintings and sculptural works, showcasing the artist's expanded creative world centered on lines, rhythm, materiality, and space.
Nam Tchunmo, Void 2803, 2024, Acrylic on canvas, 115 x 100 cmNam Tchunmo 'Void 2803' (2024). Lian Gallery
The exhibition is organized so that visitors can experience the trajectory of the artist's work at a glance, featuring his representative sculptural paintings 'Beam,' the minimalistic 'Void,' last year's debut series 'From the Earth,' and the new works from 'From the Lines.'
The basement level primarily features large-scale paintings and sculptural pieces that take advantage of Lian Gallery Seoul's high ceilings. The interplay between the artworks and the movement of visitors creates a vivid sense of presence, with shifting light and shadow. This space offers a concentrated experience of the artist's process of expanding the possibilities of perception through 'lines.'
Nam Chunmo's work is rooted in sensory memories and lingering images from his childhood in Yeongyang, North Gyeongsang Province, such as mountain slopes and furrows in fields. Moving beyond mere representation of landscapes, he reconstructs layers of sensation into a sculptural language. For the artist, furrows are both traces on the earth and a primordial sense of painting. This connects to the origin of the 'line' that he has explored throughout his life, serving as the source for structure, rhythm, depth, and space within his canvases.
Interior view of Lian Gallery Seoul, where the solo exhibition "From the Lines" by artist Nam Chunmo is being held. Lian Gallery
The title of this exhibition, as well as Nam Chunmo's new series, 'From the Lines,' clearly reveals that his sculptural language begins with the line. The canvases, where repetition and overlap, flow and pause coexist, change their expressions of color and shadow according to the movement of the viewer. Distinctively, he has moved beyond his previous structural unit method by directly collaging Hanji (traditional Korean paper), delicately enhancing the density and materiality of his paintings. The rhythm of light created by the texture and layers of Hanji resembles the natural lighting of traditional architecture. Through this evolution of materials into 'Hanji collage,' the artist continues to explore new sensory possibilities while preserving the essence of structure.
A representative from Lian Gallery stated, "This exhibition invites visitors to slowly approach the essence of form by following the texture of sensation. The canvases, traversing the construction and deconstruction of lines, repetition and rhythm, flatness and dimensionality, open up a new world where sensation and space intersect, offering viewers a moment to immerse themselves deeply into the density of painting." The representative added, "Coinciding with the 2025 FRIEZE & Kiaf SEOUL period, this will be a significant opportunity to closely witness the structural depth and sensory practices of Korean painting."
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