Finding the cosmos in the G20 heads of state

By Ines Min

A slice of the universe, metaphysical commentary and true, pure expression in social critique. The works of Hwang Ho-sup in the past two decades have inspired a cornucopia of conceptual metaphors and praise, with his microcosms of finger-painted canvases.

Ahead of the G20 Seoul Summit, Thursday and Friday, the artist has leapt forth into the dimensions once more, with his latest line of recognizable “sculptures” that combine photography with molded mesh. “Meet the G20” runs until Friday at the Gong Art Space near Insa-dong, although an extended showcase will be held through Nov. 26.

Creating a portrait for each of the participating heads of state from the G20-member countries, Hwang collages their images on top of their nation’s flag, before placing the face of a hand-pressed mesh Buddha atop. The resulting effect is one of dizzying dimensions — while the heads of state (from Hu Jintao to Nikolas Sarkozy and Barack Obama) can be seen when looked upon directly, the delicate profiles of Buddha only appear at an angle.

Hwang, 55, is a graduate of the Ecole National Suerieur des Arts Deoratifs in Paris and splits his time between Paris, New York and Seoul, having exhibited widely in both France and Korea.

First recognized in the late ‘80s and ‘90s for his “universe” paintings that combine the spontaneity of Jackson Pollock and forms of Larry Poons, Hwang distinguished his work with an aggressive passion and use of multimedia within the paints: mica, quartz and other metal particles. The addition creates a subtle radiance from his canvas work, lending to the cosmological parallels.

“The works of Hwang are in line with the movement to attempt to portray some form of energy of this world into a viable form,” renowned art critic Yves Michaud wrote in a statement. “To him, art is an existential and ethical decision that he is unable to escape from.”

Since then, the artist has expanded his oeuvre into the multi-dimensional, expanding his scope while maintaining a sense of the intimate. His paintings were known for a unique process of painting by hand, then removing the layers of dried medium for texture, and his Buddha-portraits find personality in the molds of the mesh itself, formed by bronze casts but finished with a human touch.

“The Buddha works demonstrate it is (the result of) hitting by hand, pressing by fingers that follow the face’s lines and discover the curves between,” said Park Tcheon-nahm, chief curator at Sungkok Art Museum.

As Hwang moves from the first dimensional to the third, so does his inspiration deepen in complexities. Hwang’s first foray into the Buddha pieces saw the combination of iconic females, such as Marilyn Monroe, placed behind the peaceful expression of the mold — the juxtaposition relaying a strong attitude. Now, depicting such politically-influential figures during the summit provides a poignant timing in addition to provocative imagery.

“The adaptation of the 20 faces of the presidents of the G20 countries is seemingly controversial, but it clearly delivers the reality of today’s consumer cultures and value crisis,” said Lee Dae-hyung, director of local curating company Hzone, which hosts such exhibitions at the Korean Eye.

“His work is an oxymoron between the symbol of sacred spirituality and that of political, economical powers. The future direction of human civilization will be steered not to what we worship but to what we share.”

Above all, it is that sense of global unity that speaks from within Hwang’s art; a common experience understood by the audience.

“(Seeing) Hwang’s work means either you lost the struggle he has put on and was sucked in, or you were thrown out by the explosiveness of the piece, then sucked back in,” said critic Michaud.

“Meet the G20” is on display through Friday at Gong Art Space in Sogong-dong. The works of the special exhibition will continue to be shown through Nov. 26 at the gallery’s fourth-floor main hall, along with Hwang’s older works. For more information, call (02) 730-1144.