Song Burnsoo Korea, b. 1943
Song Burnsoo has been presenting religious introspection into existence as not only an artist but a human in his works of art. His techniques began to show a radical growth since he tried to switch his major interest from prints to tapestries in the 1980’s. The central subjects of the works produced in this period were the Cross and the crown of thorns—the Christian icons symbolizing the Passion of Christ and the Atonement. Being delicately and deftly dealt with by the artist, the colorful strands of thick yarn create particular little ridges which produce a dramatic effect allowing spectators to earnestly contemplate on connotations of the directed images.
His fascination with the symbolic significance of the thorns emerged as new forms of expression in paintings of the 2000’s; the assemblage of thorn-shaped reliefs generates a keen sense of tension as though they penetrated the actual surface of the canvas. In addition, it encouraged the audience to appreciate multi-layered psychological states such as pain and sacrifice or despair and hope appearing in his tangible representation.
Song Burnsoo has held his retrospective exhibition at National Museum of Modern and Contemporary Art, Korea (MMCA) in 2017. His work is represented in the collections of MMCA in Korea, National Museum of Budapest in Hungary, and H.Q of Korean U.N. in Switzerland.
In Lieu of Higher GroundPark Suk Won, Park Jang Nyun, Song Burnsoo 30 January - 29 February 2020Gallery Baton is pleased to present ‘In Lieu of Higher Ground’, a group exhibition by three Korean contemporary artists, Park Suk Won, Park Jang Nyun and Song Burnsoo, from 30th January to 29th February, 2020. The exhibition attempts to highlight the life-long commitment to creation by three masters who have a great influence upon the process of establishing the current hybrid cultural-geography of ‘Korean contemporary art’ from its beginning period to the present phase which conveys diversified identities and zeitgeist. The title, ‘In Lieu of Higher Ground’, implies the remarkable achievement of the three artists whose life consequently became their artistic trajectories by embracing an attitude of seeking unity of the physical and the spiritual. As they have dedicated their entire life to investigating into aesthetic accomplishment and manifestation of their own creative world instead of chasing after personal fame and materialistic advancement, we dare to speak that they have silently but stubbornly broadened the scope of their artistic territories by exploring unknown realms from a perspective of a seeker rather than trying to set up another monument on the existing land—Korean contemporary art.