Artist Statement
Formation
I was born in Korea in 1941 during a tumultuous period of global history, marked by events like the Great East Asian War of 1943, the Second World War, the Korean liberation of 1945, and the 1950 Korean War. Korea, struggling amidst these historical upheavals, stood as one of the world's most impoverished nations, grappling with a crisis of values and identity. It was against this backdrop that I received my elementary and secondary education.
In 1961, I made a daring choice to enroll in the Department of Fine Arts at Hongik University, specializing in Western Painting. My journey through this program concluded in 1965. Opting for a career in art might have appeared audacious at the time, but I had a compelling reason to do so. During my senior year in high school, my artwork earned a coveted place in the "National Art Exhibition of Korea," a prestigious platform for showcasing Korean art. This achievement held immense significance, considering that even established artists found it challenging to secure a spot. It became a wellspring of confidence that fueled my determination to pursue a major in art.
In the subsequent years, during my freshman year at the university, my dedication to the craft led to the receipt of the Special Recognition Award at the "National Art Exhibition of Korea," recognizing my watercolor work. As I progressed into my sophomore year and began to grasp the global currents of art, my artistic expression evolved from figurative art to abstract art—a journey that continues to this day.
Major Solo and Group Exhibitions
Exhibitions have been a vital part of my artistic journey, spanning across diverse platforms and locations. With a rich tapestry of experiences, I have showcased my art in 22 solo exhibitions within Korea and 8 on the international stage. Moreover, my work has been featured in over 400 group exhibitions in Korea and approximately 80 international group exhibitions, two of which were almost akin to solo shows.
Among these, standout moments include my individual exhibition curated by the esteemed monthly magazine 'Rich' in 2016, held at the prestigious Chosun Ilbo Museum. Another significant event was the invitational solo exhibition at the Gimjae Jeongseon Art Museum in 2010-11. Noteworthy mentions also include the Retirement Commemorative Exhibition at the 2008 Sangmyung Gallery of Sangmyung University and the 2007 Solo Exhibition at the POSCO Museum of Art.
In 2005, I proudly represented my craft at the 100th Anniversary of the Establishment of Diplomatic Relations between Korea and Germany, held at the Korean Cultural Center in Berlin, Germany. As part of this event, I exhibited at the Museum Rade in Reinbek, Germany. Earlier, in 2004, I was honored with an invitational solo exhibition at the Fukui Art Museum in Japan, and in 1995, I was privileged to showcase my work at the Remba Gallery as part of the L.A. International Biennial Invitational.
In April 2019, I had the privilege of participating in the esteemed exhibition, "The Wind, the Stone, The Sky," held at the Sylvia Wald and Po Kim Gallery in the heart of Manhattan, New York. This exceptional showcase featured the creations of renowned married artist couples, including Sylvia Wald & Po Kim and myself, Young Sup Han, alongside Young Hie Nam. The exhibition resonated deeply within the New York art community, capturing the essence of artistic collaboration and innovation. Preceding this, in 2018, the "Jiwol·Imagination" exhibition, a collaborative effort between Young Hie Nam and me, was showcased at the esteemed Youngeun Museum of Contemporary Art. Furthermore, in 2016, I was honored to be among the ten artists selected from Gyeonggi Province, presenting my solo exhibition, "The True Color of Gyeonggi, Searching for the Arts of the Great Masters," at a personal showroom within the Gyeonggi Museum of Modern Art. These experiences have not only shaped my artistic journey but have also allowed me to engage deeply with diverse audiences, fostering a richer understanding of my craft and its universal language.
Awards and Recognitions in National and International Arenas
In 2005, I was honored to receive the Prize of Excellence in the International Art Competition commemorating the 10th anniversary of the Kobe Earthquake revival in Japan. During the Osaka Triennials of 1990, 1993, and 1996, I was privileged to be awarded two bronze prizes and one special prize. In Korea, my work with watercolors earned me the Special Recognition Award at the Korea Art Exhibition, and I achieved the prestigious Top Prize from the Korean Fine Arts Association. Furthermore, at the Total Art Grand Exhibition hosted by the Total Museum of Art, I was honored with the Total Art Award after competing for the Grand Prize, and also received several additional awards for my paintings and sculptures.
Young Sup Han: A Leader in Art Education
Despite my specialization in painting, I held a broad perspective on art, appreciating its diverse mediums and inherent value. Fueled by this innovative spirit, I took the initiative to establish the Cartoon and Animation Department at a four-year college, marking a groundbreaking achievement in Korea's educational landscape.
Right from the foundational stages of this department, my unparalleled creative drive played a pivotal role in shaping the curriculum. I guided the program with innovative approaches, fostering an environment where young talents could flourish. This dedication resulted in the emergence of skilled cartoonists and webtoonists, poised to shape the future of Korean webtoon—a cultural phenomenon known as Hallyu.
My pioneering efforts extended to the realm of hanji painting, employing a unique rubbing method, establishing a distinctive genre in Korean contemporary art. Simultaneously, my commitment to advancing cartoon and animation education at Sangmyung University showcased my dedication to indigenizing new forms of art. These initiatives not only elevated Korea's cartoon and animation education but also played a significant role in positioning the country as a global leader in webtoon and animation.
In recognition of my significant contributions to art education, the Korean government honored me with an award in 2008, underscoring the impact of my efforts in shaping the future of art in Korea and beyond.
Young Sup Han's Artistic Journey
I am often referred to as the 'Hanji Artist' or the 'Rubbing Artist'. My academic background lies in oil painting, which I pursued at Hongik University. Since my college years, I have been contemplating 'Where does the essence of Korean beauty reside?' and 'What forms the foundation of Korean art?' The quest to find these answers served as my primary motivation, earning me the titles of the Hanji Artist and the Rubbing Artist. Hanji, the traditional Korean paper used as painting support, and the rubbing technique, prevalent in various Asian art forms, have been integral to my creations since 1978 and continue to influence my work to this day. All my award-winning artworks, crafted using hanji and the rubbing method, have been acknowledged as innovative expressions in the global art scene.
At the core of my artistic expression lies nature—the most fundamental inspiration and subject of my paintings. My work revolves around capturing my emotions evoked by the various facets and phenomena of nature, portraying the occurrences and wonders found within the natural world. This deep connection with nature was reflected in the theme of my solo exhibition at the 2008 POSCO Museum of Art, titled 'Light, Wind, Sound, and the Sea and Earth'.
To America
Starting from May 7, 2014, I embarked on a remarkable journey that took me across more than half of the American continent, traversing the vast landscapes in a minivan for 57 days. I witnessed the endless horizons of open land and the straight stretches of highways, the majestic Rocky Mountains, and the desolation of Death Valley. During this expedition, I also had the privilege of gazing upon the Pacific Ocean during a cruise to Alaska, where I marveled at the expanse of the sky and the earth. It was during these moments that I couldn't help but exclaim, 'Oh, this is America.' The profound experiences I had on this trip became the bedrock for many transformative shifts in my art.
It wasn't merely about exploring a grander world or embracing the vastness of nature, but about summoning the courage to expand my worldview. The greatest impetus for me to share my artistic world in the United States stemmed from my unwavering belief in personal growth and my conviction that this transformation could serve as an inclusive bridge between generations, eras, and the global community.