jamsanbluefantasy_eng

알림

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ROSE FROM THE STARS

The travelling girl meets new faces every time.

When she met a cowardly shadow wolf who wouldn’t show up, the girl gently comforted him and walked with him.

In the forest so thick that the end couldn’t be seen, she met a rabbit who wanted to become a tree. The girl stopped for a moment and chased the rabbit’s dream together. On a windy day, she flew freely with Mr. Dandelion Spore, swimming in the sea of leaves. When she found herself in the warm arms of the swamp giant, she wanted to linger for a while, but she continued on her journey.

When she was walking on an empty road, she met a scarred cactus standing alone by the roadside. The girl went up to him without hesitation, and gave him a warm hug.

Rose’s body was covered with thorns, but she showed a happy smile.

The cactus stayed with her for a while, guiding her on her journey.

At times, she was lost in mazes. Without being scared, she calmly raised her head and looked at the countless stars.

Looking at the stars, she made a wish. The stars, the countless stars that rained down from the beginning and the end of the universe…

The girl is a blossom of rose. Hugging everything she encounters, the rose from a faraway star continues on her journey.

ROSE FROM THE STARS

The travelling girl meets new faces every time.

When she met a cowardly shadow wolf who wouldn’t show up, the girl gently comforted him and walked with him.

In the forest so thick that the end couldn’t be seen, she met a rabbit who wanted to become a tree. The girl stopped for a moment and chased the rabbit’s dream together. On a windy day, she flew freely with Mr. Dandelion Spore, swimming in the sea of leaves. When she found herself in the warm arms of the swamp giant, she wanted to linger for a while, but she continued on her journey.

When she was walking on an empty road, she met a scarred cactus standing alone by the roadside. The girl went up to him without hesitation, and gave him a warm hug.

Rose’s body was covered with thorns, but she showed a happy smile.

The cactus stayed with her for a while, guiding her on her journey.

At times, she was lost in mazes. Without being scared, she calmly raised her head and looked at the countless stars.

Looking at the stars, she made a wish. The stars, the countless stars that rained down from the beginning and the end of the universe…

The girl is a blossom of rose. Hugging everything she encounters, the rose from a faraway star continues on her journey.

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Jamsan(b.1974) is an artist who is engaged in various artistic activities, crossing the commercial and artistic fields.

He presents "Mastic Art", a new method of modeling and painting by reconstructing metals such as cement, brass, and steel.

As the best illustration artist in Korea, he has been presenting outstanding works in advertising and art since 2004. He has been nominated to <15 Representative Artists in 2008 Pyeonchang Olympics> and also continues to participate in various areas such as K-Drama, K-Pop album, and brand collaboration.

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GROUP Exhibition

2022 《Open Group Exhibition》, Clamp Gallery, Seoul

《The Hyundai Seoul》, K Auction, Seoul

《BAMA Art Fair》, Space Um Gallery, Busan

《HAPPYBARAGI》 Collast Gallery, Seoul

《Dada Project》, Dada Gallery, Seoul

2021 《Red Chair》, Collast Gallery, Seoul

《Premium Online》, Seoul Auction, Seoul

《Gift Exhibition》, Gallery Joeun, Seoul

《Open Invitation Exhibition》, Art Inside Gallery, Seoul

2016 《FoR-ReST Forest of Seven Illustrators》, Galleria Foret,

Seoul

2014 《Secret action》, Total Museum of Art, Seoul

Works and Awards

2022 Netflix, Drama "Annarasumanara", Intro part concept art

Oli Publishing Company, “Mermaid Dad” children’s book

2020 tvN, Drama “It’s okay not to be okay” concept art

2019 tvN, Drama "Boyfriend" Concept Illustration Episode 1-16

2018 Shutterstock, "Korea’s representative artist" video promotion

2016 Seoul International Book Fair, Korean Representative Invited Artist

2015 “PyeongChang Winter Olympics”, 15 Korean Representatives

2014 Seo Tae Ji 9th album “Sogyeok-dong” illustration and concert poster

2013 Super Sonic Rock Festival concept art

Launched “amazing zoo” app for iPad(Grand prize, US)

2012 Seoul Metro City Hall Wall Art “Dreaming City” 10m Wall Art

2011 Samsung Galaxy Note World Tour Korean Invited Artist

2010 Enprani Road Shop (Holika Holika) Myeong-dong facade concept art

2009 SHINSEGAE Department Store Christmas (Christmas in Oz) illustration

2008 Nike Park Ji-sung cf & graphic novel concept art

2007 Seoul Arts Center Opera “The Magic Flute” Illustration

2006 Seoul Arts Center opera performance poster illustration

KBS2 ID CF Illustrations

2004 CYWORLD Jamsan Story Skin

KT Website (Information and Communication Museum) Illustration Web

(Grand Prize)

Jamsan, an artist who has been engaging in various artistic activities by breaking the boundaries between illustration and fine art, is hosting his second solo exhibition at Gallery Collast. After the last solo exhibition, which was much loved for her 'Red Chair' girl icon, Artist Jamsan is creating a genre called 'surrealist fantasy painting' by presenting a new series of works. Jamsan's ‘BLUE FANTASY’ solo exhibition will show transitional flow of 'Jamsan World', which was shown through illustrations, being transferred to ‘fine art’. Let's hear about his stories accumulated through his continuous commercial and artistic activities in an interview at Collast.

A. The nature of the two projects is very different. First, the Nike project was a project by a global company, Nike, to create advertising images for Korean representative athlete. The role of concept art in this project is to create important engines after the company has established the overall framework of ship by creating the planning and design documents. Therefore, I had to realize that my position was to create the engine. However, as the success or failure of the ship depends on the performance of the engine, the engine is also the most important element while being a component of the ship.

In contrast, the Seo-Taiji project is different. In this project, as an artist, I had to interpret the song created by the artist Seo-Taiji and work on it. Seo-Taiji is an individual, but he is also a company, a musician, and an artist. He was looking for someone to interpret his work and work on the project. On the other hand, Nike was looking for someone to create the packaging/engine for their project.

Although the two works have different tendencies, they are both included in commercial art. However, my mindset towards each project is different. Depending on the position of the work, I decide how far I can move and draw a line. This is because I believe that it is more important for each person to perform their role sufficiently. When working on different jobs with different tendencies within commercial art, I think it is important to adapt accordingly.

A. That's true. At the time, Seo-Taiji’s 9th album was unreleased, and I had to visualize the lyrics without a melody (that hadn't been made into a song) and had only two weeks to do it. Seo-Taiji also wanted me to draw scenes that could be felt in the music. In addition, I suggested drawing separate scenes that lead to a single story. There were about 9 songs, so I created a story that combined them into one and worked on it like a fairy tale. The main character was a girl even back then.

I worked solely based on the lyrics. I never had a conversation with Seo-Taiji or listened to the music beforehand. However, I always enjoyed drawing, listening to music or reading poetry. These experiences helped me during this project.

Although the time given to me for this project was tight, I found that I was actually more focused. I proceeded without any revisions. Seo-Taiji liked my work, so he also commissioned me to create the poster (showing a girl jumping through a door) for the "Quiet Night" concert at the end of that year, and I also worked on cover illustrations for album compilations.

A. As a professional who has worked on various tasks from illustration to video production, I thought that drawing a picture in a drama would simply mean that 'my artwork will be used for a few passing shots in the drama. I thought, "There won't be enough time to show artworks when they need to show the story and the actors." Nonetheless, I decided to take on the challenge of working on this new field.

When I opened the lid, my work were more prominent than I had expected. At first, I thought it was unproductive to draw a full-color picture that would only be shown for one or two seconds. Additionally, as an artist who wants to showcase my work to the public, a flashy one-second display does not leave a lasting impression on the viewer. After much contemplation, I concluded that to make my work memorable for a short moment, I needed to remove the power of the artworks. By removing the techniques and colors of the work, I realized that I could create a lasting impression through just the "lines" of the work. Thus, the flashy mise-en-scene was removed, and only the fairy tale characters and expressions left as a lines.

"Line art" was an enjoyable task for me. I knew that the work would have no presence, but I needed to find a way to create my presence, and that was through "line art," which was not an easy decision. It was not easy for me, who is motivated and good at everything, to draw a work by removing all the elements just for the sake of one concept. However, the result brought me a new sense of freshness and joy.

The existence of the work was prominent in the drama, and the ‘line art’ that was produced (by removing all the colors and other elements) made the characters from the fairy tale more memorable for the viewers. This task also gave me another sense of courage. I believe that drawing a picture with just lines, removing everything else, also requires courage. However, after seeing the ‘line art’ as an element of the dark fairy tale in the well-made drama, I think the public naturally accepted it. After the drama, requests came in from publishers and companies to work in the drama style. It gave me the courage.

Thanks to that, a girl character appeared. In my previous work, the character was never emphasized. The atmosphere, background, fantasy, and imagination were the main character. It existed as a medium within that space, but the protagonist was not the protagonist. Drawing the protagonist for the first time in about twenty years has a special meaning for me.

It was a new experience for those who watched the drama 'It's Okay to Not Be Okay', but for me, it was a great opportunity to do the work I had wanted to do for a long time and a catalyst for change. That's why I think I was able to come this far.

A: I have been painting ‘Girl’ character in earnest for about two years now. I had a dream of becoming a fine art artist, so (most people may not know) I have been working on fine art for 10 years. When I was busy working as a commercial artist, I was drawing painting personally. . I wanted to do a painting that could fully express myself as a single painting, even though I enjoyed working in a good engine and packaging position. At that time, I worked on making canvases out of cement and using metal to draw for about seven years, and participated in exhibitions. The reason I used unusual materials was because I wanted to avoid drawing in the familiar way and use materials that others did not use. I have been steadily working on painting for the past 10 years because I wanted to create something more of my own painting.

A. Drawing was not a just ‘career choice’ for me. I drew because I enjoyed the act of expressing my thoughts through art, and when I strove to effectively convey my thoughts through art, I ended up learning the necessary skills. At that time, I wasn't sure what my own style, but fortunately, I started illustrating because my technique was good, and I began working in commercial art, which was also enjoyable in its own way. That's how 20-odd years have passed.

In other words, I didn't start drawing just for working in commercial art. I continued to express my personal thoughts and emotions through art even while working as a professional. Both fine art and commercial art were essentially about expressing my thoughts through my work.

About ten years ago, I started fine art, and I didn't want to do what everyone else was doing. So, my work with cement continued for about 7-8 years, and I began drawing characters after encountering "It's Okay to Not Be Okay." Although it was a material that everyone else used, I started using "oil paint," which was unfamiliar to me, and worked with it for two years. Now, I have become very familiar with this material, and using a brush and color has become comfortable.

A: Communication. Transferring thoughts into images, showing and communicating. My experience in Concept Art(illustration) has been very helpful to me. Having worked with many people on various projects and received feedback from the public has been very useful to me up to now.

The reason why many people like my drawings is that they empathize with people's emotions through my drawings. I am just an ordinary person, but what sets me apart is that I was born with a talent for transferring thoughts into images. If I can express emotions that anyone can feel with the talent I was born with, everyone can empathize with those emotions. Therefore, communication is essential when it comes to drawing.

A: Right now, I'm solely drawing my thoughts and emotions on the canvas. Based on my past experiences in various projects, I'm drawing my artwork. I have so many things I want to do in the future, but time is limited. The illustrations I drew before are all about my emotions. They're works of art that embody my emotions using techniques, and I want to redraw them as fine art. There are many works that need to be drawn, but I know that I can't reveal them all at once, so I'm also considering the timing and circumstances. Moreover, I'm looking for a drawing method that can convey more emotions and communicate better. Like when I first started the <It's Okay to Not Be Okay> project, it's a scary and challenging path that requires courage, but it's a path that I have to take.

A. I realized 10 years ago that I had been expressing a lot of my emotions through the theme of 'home' without even realizing it. I had been drawing homes more than I thought, and projecting my emotions onto them as I drew. I had been doing personal creative work, capturing my emotions at the time, while drawing things like 'a house in the wind' and 'an empty house' for years. At the peak of those emotions, I painted an artwork called 'The House with Golden Stars and Flowing Water.' After the most difficult time of my life, I finished everything and looked up at the dawn sky thinking, "I want to draw a picture." So, I took out oil paint that I hadn't used since high school and painted my emotions in full on a canvas.

A. 'The House with Golden Stars and Flowing Water' is the most meaningful artwork to me, and at the same time, it is the first artwork where 'Blue House' appeared. It is the result of feeling, suffering, and thinking through the toughest ten years. On a day when joy and sorrow were mixed, at that moment when everything was organized and everything started a new, Blue House is a picture of 'hope' rather than happiness to me. The color gold was used as a symbol of that hope. There was no way to express a color like a ray of light that represents hope with paint. Therefore, the gold color that I use is not used as a texture, but as 'light'. (Gold is used as a concept of light.) Blue House was the first artwork where I used the color gold (hope).

A. During the 10 years, I worked on warm and fairy-tale-like projects. Although my personal situation was not like that, I knew what they wanted and had enough techniques to express it, so I took on the work as a professional. However, when it came to personal work, there was a period when I couldn't use any color. I didn't feel like forcing myself to use bright and warm colors when I did in my personal work. So, in my previous works, I drew a Blue House on a black background because blue is an emotion. My helpless and lonely emotional state that I couldn't do anything about. When I draw a house, I honestly express my emotions through the house. That's why I couldn't use any other color, and when I finally used blue, it matched the emotions inside of me.

If you look at my current work, Blue House is still there, but the surrounding colors are filled with various colors. My emotional state has improved. It's no longer an emotion I want to hide, but one that I can show. That's why I was able to include Blue House as a theme in my painting. You can see my emotions becoming more comfortable compared to before through this exhibition.

A. When I first met the Director Park Shin-woo of the drama <It's Okay to Not Be Okay> at a café, received a one and a half page synopsis. Up until then, the work I had received commissions for were usually warm keywords such as 'gentle' and 'cozy'. However, this director's synopsis contained a story that stimulated "sad" emotions and other "unhappy emotions" that people can have. In fact, these emotions were well known to me and suited to me. At that time, I was struggling to express my emotions and colors in my artwork. I couldn't draw a single artwork and didn't know what to draw. Although I can draw anything but I felt like there was nothing I could draw. After struggling and thinking about it all year, I met the character who would become the "girl" in my current work. I found a character that suited my personality well. Without thinking, I began to draw the "girl alone in the mansion," and for some reason, I felt like this girl would not be wearing shoes and would have the same "emotions" as me. I drew the girl based on my emotions at the time without hesitation, starting with a pencil sketch. When I saw the empty canvas and oil paint that had been empty for a year, I thought, "Let's draw this girl and put down the canvas on the easel now." That sketch was the "girl sitting in the red chair," and then I was able to release the feelings that tormented me..

A. At that time, I had a vague fear of fine art and a fixed idea of "this is what a fine art should look like". It was a time when I was plagued by such thoughts. I could follow or imitate the shape and form of fine art within its frame. (It wasn't that I couldn't draw because I couldn't imitate the shape.) However, since that way was not like me and not mine, I couldn't draw it. The story of my personal drawing, which was a ‘dreamy fantasy’ that I had drawn while doing commercial art, was not found in the fine art that I knew, and this discrepancy was the biggest issue for me. I thought my drawings could not be considered fine art, and it was a time when I was troubled by this. However, after working on the drama <It's Okay to Not Be Okay>, I liked a girl who resembled me so I drew her. As soon as I put my brush on the canvas, I felt alive. I drew the girl so intensely because it was so fun, and after seeing the completed girl, I was convinced that I should draw what I like from now on.

A. "Jamsan World" is a personal artworks that I worked on while I was busy with commercial art. It's a fantasy world that I drew at the age of 29 when I was young, pure and emotion. I created a world view and drew a protagonist called "The Swamp Man." Through this world, I wanted to turn minor emotions that people have into characters and make them into fairy tale-like stories. I thought about what minor emotions were and how to express them as characters.

The owner of the world, 'The Swamp Man,' is not a being that solves all the problems of the world, but just a listener. And there is a girl with a pointed hat next to the Swamp Man. The girl will be referred to as 'Rose (the girl)' in the future. A wolf always follows the girl. The character is called 'Shadow Wolf,' and it’s other name is 'a shadow that understands the heart.' The wolf hides in the dark shadows of the forest, and only its eyes glitter. Everyone is afraid of the wolf in the darkness, but in reality, the wolf is just a shadow that hides because it is afraid of showing itself. The girl is the first person to meet this wolf. While traveling, they meet various characters and eventually meet the Swamp Man at the end of their journey. It is a series of fairy tales that end there. I planned this world at the age of 29.

A. Each character in the ‘Jamsan World’ can be seen as each fairy tale book. 'Happy Fox Family' is a fantasy character that looks like a fox. Although it looks like an animal, it is more appropriate to express it as a character. This character was born after being inspired by a documentary. While wanting to express 'stupidity and inadequacy,' one of the minor emotions of humans, I saw the phrase, 'stupidity can be happier than anyone else.' In this world, the fox mother carries her child in the front pouch like a kangaroo. The fox mother is stupid, but her child is very intelligent. They are happy even if they are socially inadequate. As another character, 'Kind Spider Gentleman' is a character who catches food by spinning a web and only provides what people need, such as lowering a rope. Also, 'Vain Peacock' is a character who, although the peacock itself is beautiful, collects pretty leaves and makes a scarf by sticking them to its neck due to excessive vanity. It is making itself more glamorous by bringing in something that is not its own due to vanity.

A. All of my activities are within one process. I showed 'The Girl' last year and have been drawing my fantasy (emotions) since this year. ‘'Blue House'’, ‘The Girl’ and fantasy elements appear, and characters from the fantasy world also appear. I think about surrealism in this time, so the artwork ahead cannot be the same as the previous work. I am in the process of creating a new form of fairy-tale-like fantasy. The fact that it is different from existing works alone is valuable to me. That is 'difference' and 'art' to me.

A. I am a person who creates stories. I put emotions into my stories, and those emotions will be the same as mine. While thinking about how to tell my stories to the audience, I came up with the concept of 'Rose from the Stars.' In the story of 'The Little Prince,' people remember the little prince and his journey. But I want to tell the story of the ‘Rose’ that we didn't know about. The ‘Rose’ we know is the one that waits for the little prince to come back, but the rose in my fantasy lives a life that doesn't wait. (I thought that emotion matches my personality.) ‘Rose’ is sailing somewhere on a boat, cuddling with a red bear encountered during the journey, but her eyes gaze somewhere far away. She sits in a red chair that everyone would envy, but her eyes stare off into the distance. The girl who travels here and there is like me, unfamiliar with putting down roots. That's why I gave ‘Rose’ the shoes to leave whenever she wants. Blue Fantasy will show the story of Rose's journey.

A. This <BLUE FANTASY> solo exhibition is very important to me because it features 'The Swamp Dweller', 'The Blue House' (a house with golden stars and flowing water), cement works, and 'The Girl' (a girl sitting on a chair) all in one place .

'The Swamp Dweller' is the owner of a fantasy world. In that time, a goal was to create a protagonist in a fantasy world that I would not regret, even when I turn 60 years old. After much consideration, I drew the Swamp Dweller, and he turned out to be the face (expression) that I wanted to be. I'm still satisfied with it and confident that I will be satisfied with it even when I'm 60 years old.

The artwork 'The House with Golden Stars and Flowing Water' was drawn at the pinnacle of starting anew after the time of darkness when all dreams and hopes had disappeared." That artwork, which I drew after finally emerging from a long period of darkness in reality, has symbolic meaning of 'blue rain' to me.

'Red Chair(The Girl Sitting on a Chair)' was the work that helped me get out of the time when I couldn't draw even a single dot in front of the canvas for several years.

The cement works were a necessary (conflict) process of moving from illustration to fine art. At a time when I was struggling with the word 'art' between illustration and fine art, I started working on this symbolic work using materials that no one else was using and thinking of it as painting (10 years ago) to get out of the concept of art. The emotions that were melted into the cement work are the same as those of other works, only the materials used are different.

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