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The Study on the ‘Color Itself’ of Lee Hyang Mi: Work Revealing Relations

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2021, 64(), pp.98-118
  • DOI : 10.17527/JASA.64.0.05
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : August 15, 2021
  • Accepted : October 2, 2021
  • Published : October 31, 2021

Ihn-Sook Nam 1

1단국대학교

Accredited

ABSTRACT

This paper introduces the work of Lee Hyang Mi (1948-2007) and reveals its significance. Lee graduated from university in 1971 and actively engaged in making art in the 1970s and 1980s. This study introduces the artist's unique style of painting, “color itself,” and examines the significance of this work in its time and today. In the 1970s, efforts to deviate from the narrative of works were the biggest trend in Korean contemporary art. Lee's work was also the result of reflecting this spirit of the times. The study aims to broaden the understanding of the artist and the work, focusing on the key words “Heulim, Freedom, Experiment” that the artist herself mentioned. As art critic Lee Yil said, not only are there not many artists who have worked entirely on “color openness” like “color itself,” “heulim” was also established to present objective and open works that converge into color itself. From this perspective, “heulim” is a method of solving the “openness of color,” which reduces the work to the volume of color itself. Although there are not many works by Lee Hyang Mi, they are valuable assets that can support the diversity of our art archives and art scene. It is also very meaningful to examine the activities and characteristics of the artists who deviated from the center of Seoul.

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This paper was written with support from the National Research Foundation of Korea.
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