#jaeyeolhan

[art-now-south-korea]

Passersby, December, Jaeyeol Han

The apparition of these faces in the crowd; Petals on a wet, black bough Ezra Pound ...Working with a restricted palette, the primaries plus black and white, the adept use of his material, oil bars in his smaller works, makes for an assured balance of concept and craft. He deploys rich saturated colors against which his use of black as a color, as a component of outline, as a means of establishing form, both directly and obliquely and as shadow. This use of black also functions as an amateur lending his images solidity. They have about them an improvisational immediacy but they are definitely not sketches. Occasional lightly applied lines, mere markers – remnants of the blocking in stage – remain visible; unaltered they sustain his heads. There are gaps in the paint film showing through to the primed canvas. They carry a certain frission, an undercurrent of expressive potential; these are charged intervals, essential elements in his paintings, each one realized in a dynamic interplay of depiction and abstraction... Please visit the official website for futher information http://Jaeyeolhan.com

https://www.saatchiart.com/art/Painting-Passersby-December/325197/1700202/view

[jaeyeolhan]

Jules Dalou Rodin 1883

at Alte Nationalgalerie

30x21cm

Pigment Bar on Linen

황목Heavy Weight

2020 06 22

[nicholestakerdesigngroup]

Fine Art Friday is a reflection on our current times. This is 2017. Such emotive, expressive brush work from South Korean artist Jaeyeol Han. "Passers-by". #fineart #fineartfriday #oiloncanvas #artlover #artwork #artist #jaeyeolhan #oilpainting #interiordesign #reflection #passersby #southkorean #bepresent

[suzylwade]

The Faceless Ghost “I provide an opportunity to bring to life faces that are all to easily passed over, ignored. I try to create a new meaning in our modern era, where meeting another person is often done indirectly – on the phone, on Facebook - instead of meeting each other in reality, to meet each other face to face.” - Jaeyeol Han, Artist. Remember those scary stories we’d tell one another as kids? The ones about monsters? Well in Korea a frequent character of such stories is the ‘faceless ghost’. This ghost appears with his or her back turned towards the storyteller, but when the ghost turns and shows his or her ‘face’ there appears a blank surface smooth and egg-like. The reason ‘faceless ghost' is so scary is not only because it looks weird. It’s more how we recognise the face as a body part. Artist Jaeyeol Han focuses on the human’s face as his sole subject. Instead of drawing a picturesque facsimile he depicts people who will always remain nameless. Han draws faces from which their names have been erased. To garner his muses Han focuses on interesting faces amongst the crowd. Han quickly sketches that face in a matter of minutes. These sketches later serve as the basis for paintings worked up in his studio. Glimpsed in passing and in public, unaware of being observed, some passersby briefly expose their emotional states. It’s these brief emotional states, these facial expressions that become the subject(s) of Han’s paintings. #chapeaulondon #chapeaublog #dedicatedtothethingswelove #wordsandpictures #amazing #london #lifestyle #jaeyeolhan #artist #painter #painterly #faces #facelessghost #korea #passersby #goethe

[puzzled-to-a-fever]

Jaeyeol Han

[anavataninkaranliktir]

Source, @jaeyeolhan

[hexoplexo]

Jaeyeol Han

[art-now-south-korea]

Passersby, Penetration, Jaeyeol Han

The apparition of these faces in the crowd; Petals on a wet, black bough Ezra Pound ...Working with a restricted palette, the primaries plus black and white, the adept use of his material, oil bars in his smaller works, makes for an assured balance of concept and craft. He deploys rich saturated colors against which his use of black as a color, as a component of outline, as a means of establishing form, both directly and obliquely and as shadow. This use of black also functions as an amateur lending his images solidity. They have about them an improvisational immediacy but they are definitely not sketches. Occasional lightly applied lines, mere markers ? remnants of the blocking in stage ? remain visible; unaltered they sustain his heads. There are gaps in the paint film showing through to the primed canvas. They carry a certain frission, an undercurrent of expressive potential; these are charged intervals, essential elements in his paintings, each one realized in a dynamic interplay of depiction and abstraction... Please visit the official website for futher information http://Jaeyeolhan.com

https://www.saatchiart.com/art/Painting-Passersby-Penetration/325197/1643476/view

[art-now-south-korea]

Passersby, Gaze, August, Jaeyeol Han

1. The apparition of these faces in the crowd; Petals on a wet, black bough -Ezra Pound 2. Sometimes, while walking through the crowded streets of a large city, it can be easy to forget that the people we pass are also going somewhere, meeting someone, or hoping for something. Those people are also ervous, happy, anxious and sad. We walk by each other thinking little of the other pedestrians, hardly seeing their aces, rarely wondering where they are going or who they are. We often just focus on ourselves. Artist Han Jae Yeol, however, pays attention to the passers-by and has introduced us to them in his paintings. “During my military service, I was dispatched to Haiti’s peacekeeping unit in response to the earthquakes.” Han said, “what was happening there was contained in {the Haitians} faces.” He continued, “I collected those faces and that’s how it began.” Though we are many, we are also individuals. Han hasn’t forgotten the importance and beauty of individuality. “A Crowd of humans flowing like a body of water,” Han says in his blog “negates individual energy and dissolves their existence.” Walking amongst a group of people makes us less likely to focus on any one individual. While Han walks amongst a crowd of people, he often begins retreating further into himself. His work is a response to that inward focus. Since his service in Haiti, he has turned his energy outward and created his project; a collection that encompasses over 300 paintings. Han believes that artists must “pay close attention to things, to give them the attention they deserve.” Han gives consideration to the “existential energy” of the people he observes and looks to capture its presence with oil paints. “I was first interested in the structural qualities of the human face,” Han said, “but later realized that this interest rose from a primitive force exerted from faces.” He decided to work with paint despite it being a traditional medium. Painting, Han feels, is the best way “to capture brief existences born between image and spontaneity.” Han’s work doesn’t show details of the subject’s face. The final outcome looks similar to what we may remember when trying to recall a face with which we are not familiar. Han’s portraits are blurred with color expressing the “existential energy” he sees in a person’s face. Han reveals the subject’s emotions and energy with the colors that he chooses to use. His work also speaks of a larger societal issue. “We avoid human relations,” Han said, “our lifecycles change to make living alone more comfortable and convenient.” He believes living too much within ourselves isn’t healthy, and we must communicate with others more often. “The age of excluding the others is over, but now the self exhausts the self, and violence is returned into the self.” Han’s work looks to expose this idea of the self, and to give us an experience with the faces we rarely take the time to examine. His paintings remind us that sometimes you should take a closer look at the people around you. The discoveries you can make with this simple act may surprise you. [b]racket magazine Whit Altizer 2014 3. “It is the job of the artist to pay close attention to things, to give them the attention they deserve. This series of paintings shows a distinction about the power of existence when complete strangers become objects of interest to me."

https://www.saatchiart.com/art/Painting-Passersby-Gaze-August/325197/1623920/view

[art-now-south-korea]

Passersby, Encountered, Jaeyeol Han

The apparition of these faces in the crowd; Petals on a wet, black bough Ezra Pound ...Working with a restricted palette, the primaries plus black and white, the adept use of his material, oil bars in his smaller works, makes for an assured balance of concept and craft. He deploys rich saturated colors against which his use of black as a color, as a component of outline, as a means of establishing form, both directly and obliquely and as a shadow. This use of black also functions as an amateur lending his images solidity. They have about them an improvisational immediacy but they are definitely not sketches. Occasional lightly applied lines, mere markers? remnants of the blocking in the stage? remain visible; unaltered they sustain his heads. There are gaps in the paint film showing through to the primed canvas. They carry a certain frisson, an undercurrent of expressive potential; these are charged intervals, essential elements in his paintings, each one realized in a dynamic interplay of depiction and abstraction... Please visit the official website for more information http://Jaeyeolhan.com

https://www.saatchiart.com/art/Painting-Passersby-Encountered/325197/2950911/view

[art-now-south-korea]

Passersby, Oom, Jaeyeol Han

The apparition of these faces in the crowd; Petals on a wet, black bough Ezra Pound ...Working with a restricted palette, the primaries plus black and white, the adept use of his material, oil bars in his smaller works, makes for an assured balance of concept and craft. He deploys rich saturated colors against which his use of black as a color, as a component of outline, as a means of establishing form, both directly and obliquely and as shadow. This use of black also functions as an amateur lending his images solidity. They have about them an improvisational immediacy but they are definitely not sketches. Occasional lightly applied lines, mere markers – remnants of the blocking in stage – remain visible; unaltered they sustain his heads. There are gaps in the paint film showing through to the primed canvas. They carry a certain frission, an undercurrent of expressive potential; these are charged intervals, essential elements in his paintings, each one realized in a dynamic interplay of depiction and abstraction... Please visit the official website for futher information http://Jaeyeolhan.com

https://www.saatchiart.com/art/Painting-Passersby-Oom/325197/2286943/view

[art-now-south-korea]

Passersby, Boy, May, Jaeyeol Han

The moment of faces seen fleetingly expires and can never be retrieved. The fold within this phenomenon is not unlike the gap separate the ideal from daily life, or concept from reality. Within this moment of irony, where image engages temporality, many things come into brief existence and disappear; things glimpsed that engage the depths of our shared humanity. I aim to capture this primal energy, instinctively find the order born out of chaos. Disrupted, sundered, yet self-contained; the face carries a paradoxical energy. Tuning the ruptured marks, the waves of spattered paint on the canvas, so that they resonate with my adopted color theory, so that they capture the energy I see, I know no pleasure beyond this. The sculptural nature of my painting. The process of creating a face is like an alchemy reversing the butchering of an animal: graphic lines as bone become muscle, become fat, all of it hidden under the skin. The act of raising an oil stick and making the first mark is an action of pure bliss, done solely with my body’s strength, where I’m connected from the shoulder to the tip of my fingers without the interference of a brush. Paint, pressure, speed, rhythm, calculation and emotion, everything finding its own measure. Each stroke hurls out an unfamiliar new artifact that takes the exact shape of my action. This is an intimidating business, but a surprisingly exciting business. I consider my current project as the starting point of a story that will take my entire lifetime to tell. In terms of filmmaking, this would be the casting period. Every painting is the face of a future actor or actress in search of a leading role. They jostle for their place in the narrative that will follow the introduction of all my characters.

https://www.saatchiart.com/art/Painting-Passersby-Boy-May/325197/3087501/view

[art-now-south-korea]

Passersby, Coy, Jaeyeol Han

The apparition of these faces in the crowd; Petals on a wet, black bough Ezra Pound ...Working with a restricted palette, the primaries plus black and white, the adept use of his material, oil bars in his smaller works, makes for an assured balance of concept and craft. He deploys rich saturated colors against which his use of black as a color, as a component of outline, as a means of establishing form, both directly and obliquely and as shadow. This use of black also functions as an amateur lending his images solidity. They have about them an improvisational immediacy but they are definitely not sketches. Occasional lightly applied lines, mere markers ? remnants of the blocking in stage ? remain visible; unaltered they sustain his heads. There are gaps in the paint film showing through to the primed canvas. They carry a certain frission, an undercurrent of expressive potential; these are charged intervals, essential elements in his paintings, each one realized in a dynamic interplay of depiction and abstraction... Please visit the official website for futher information http://Jaeyeolhan.com

https://www.saatchiart.com/art/Painting-Passersby-Coy/325197/1642814/view

[art-now-south-korea]

Passersby, December, Jaeyeol Han

The apparition of these faces in the crowd; Petals on a wet, black bough Ezra Pound ...Working with a restricted palette, the primaries plus black and white, the adept use of his material, oil bars in his smaller works, makes for an assured balance of concept and craft. He deploys rich saturated colors against which his use of black as a color, as a component of outline, as a means of establishing form, both directly and obliquely and as shadow. This use of black also functions as an amateur lending his images solidity. They have about them an improvisational immediacy but they are definitely not sketches. Occasional lightly applied lines, mere markers – remnants of the blocking in stage – remain visible; unaltered they sustain his heads. There are gaps in the paint film showing through to the primed canvas. They carry a certain frission, an undercurrent of expressive potential; these are charged intervals, essential elements in his paintings, each one realized in a dynamic interplay of depiction and abstraction... Please visit the official website for futher information http://Jaeyeolhan.com

https://www.saatchiart.com/art/Painting-Passersby-December/325197/1700202/view

[art-now-south-korea]

Passersby, School girl, November, Jaeyeol Han

The apparition of these faces in the crowd; Petals on a wet, black bough Ezra Pound ...Working with a restricted palette, the primaries plus black and white, the adept use of his material, oil bars in his smaller works, makes for an assured balance of concept and craft. He deploys rich saturated colors against which his use of black as a color, as a component of outline, as a means of establishing form, both directly and obliquely and as shadow. This use of black also functions as an amateur lending his images solidity. They have about them an improvisational immediacy but they are definitely not sketches. Occasional lightly applied lines, mere markers ? remnants of the blocking in stage ? remain visible; unaltered they sustain his heads. There are gaps in the paint film showing through to the primed canvas. They carry a certain frission, an undercurrent of expressive potential; these are charged intervals, essential elements in his paintings, each one realized in a dynamic interplay of depiction and abstraction... Please visit the official website for futher information http://Jaeyeolhan.com

https://www.saatchiart.com/art/Painting-Passersby-School-girl-November/325197/2936775/view

[art-now-south-korea]

Passersby, Boy, November, Jaeyeol Han

The apparition of these faces in the crowd; Petals on a wet, black bough Ezra Pound ...Working with a restricted palette, the primaries plus black and white, the adept use of his material, oil bars in his smaller works, makes for an assured balance of concept and craft. He deploys rich saturated colors against which his use of black as a color, as a component of outline, as a means of establishing form, both directly and obliquely and as shadow. This use of black also functions as an amateur lending his images solidity. They have about them an improvisational immediacy but they are definitely not sketches. Occasional lightly applied lines, mere markers ? remnants of the blocking in stage ? remain visible; unaltered they sustain his heads. There are gaps in the paint film showing through to the primed canvas. They carry a certain frission, an undercurrent of expressive potential; these are charged intervals, essential elements in his paintings, each one realized in a dynamic interplay of depiction and abstraction... Please visit the official website for futher information http://Jaeyeolhan.com

https://www.saatchiart.com/art/Painting-Passersby-Boy-November/325197/2931331/view