Painter Kang Yo-bae has presented a new series of landscape paintings inspired by the wind and geography of Jeju Island [1, 2].
As a first-generation figure of the Minjung art movement, Kang's work bridges the gap between political social realism and the natural environment. His latest exhibition highlights a shift toward capturing the visceral, atmospheric qualities of his hometown through experimental techniques.
Kang has a career spanning more than 50 years [1]. For this collection, he moved away from traditional tools to better reflect the rugged nature of the island. He used unconventional materials, including branches and crumpled paper, to apply paint to the canvas [1, 2].
Kang said traditional brushes are too polite and modest for the subject matter. He said the rougher marks left by his alternative tools better suit the characteristics of the island's harsh winds [1].
The artist believes his creative process is inseparable from the specific environment of Jeju Island. He said if he were placed elsewhere, he feels he would be unable to paint anything [1]. This connection is rooted in his deep familiarity with the specific behavior of the local clouds, and the movement of the wind [1, 2].
By focusing on these elemental forces, Kang seeks to translate the physical sensation of the island into a visual medium. The works emphasize the intersection of the land's natural beauty and the raw energy of its climate [1, 2].
“Brushes are a bit exemplary and quiet.”
Kang Yo-bae's transition from the overtly political themes of the early Minjung art movement toward a nature-centric exploration of Jeju reflects a broader evolution in South Korean contemporary art. By integrating physical elements of the landscape into his process, Kang moves beyond representation to a form of environmental expressionism that ties national identity to the specific geography of the region.
