Exhibition from November 14th to January 20th 2009
Opening on Saturday, November 14th 2009 17:00 - 21:00
download the press release
His work bases on the inspiration of photographs but his portraits are not for all that true imitations. His technical virtuosity enables him to give up with the mimicking in order to subject his models to imperceptible distortions which bring out a specific feature or to emphasize on an expression without summoning up any the feeling. The texture of flesh and the bright of the skin, the shape of the face, the place of the eyes and the look, the hairline are shown with a kind of excess of realism where we come in with this fixedness shady and fallacious which is disturbing. The aggressive colors seem to be crushed by a strong lighting which stumps contrasting under a blue light. The faces, in his work, suffer homothetic transformations and the skin wear violent pink colors with artificial brightness, which symbolize the modernity. By being unaware of their ordinary and their own ignorance, they put on those who observe them, a singular expression where everyone can identify. Hwang find these pitiful swarms in the standardized industrial societies, real cemeteries of the beauty where the world disappears without traces.
In Hwang’s canvas all his faces mask the empty in which we sink into. By this way, his work is political. For him, the society is out of breath but the painting is not, in fact, it stays a personal approach, able to produce from the same photograph, very different portraits that artist wishes. In the painting, there is not a mechanical reproduction from the moment that an artist is able to give back the impression, which strikes him in his work.
The approach of Hwang is still close to the work of German Thomas Ruff, whose photographs are more objectives. Nevertheless, Hwang remains above all Korean by giving back the differences that a non-oriental cannot perceive. In his mind, the occidental man known as white has a pink skin and he shows us all the variations and shades. But, above all, this approach of the artist is still Korean by the training that he received in his country, like the Chinese teaching, enhancing the academic technique as David’s workshop. There, we learn drawing and painting with virtuosity without intellectualizing too much, unlike the French school of Fine Arts where we talk more about hard concepts than executing difficult things. If the technical master of art is not enough to be a genius, at least it attests the talent. And Hwang who possesses it was able to impose his artistic vision about a know-how but voluntary forgotten like Picasso who has succeeded by investing beyond what he has been taught.
Like other people, Asian artists who works in France, highlights this technique by the very deconstruction that they acquire in their schools.