Ha
Gye-hoon (Art critic)
Representation is one of important
virtues of an artist. Representation also refers to the method of portraying
the subject in particular ways. Humans use their senses to detect external
stimuli, which are then processed through various organs to express (represent)
the emotions generated by the stimuli. Some people create sounds, while others
draw or sculpt forms, express themselves through bodily movements or preserve
the experience in writing.
Noh Jun does not neglect the stimuli
that occur around him in everyday life. In particular, he pays keen attention
to the pets he encounters in life. Based on such exchange and connection
between humans and animals he experiences through his encounters, Noh focuses
on the relationship between human and nature, and between human beings. During
his graduate studies in art school, Noh happened to start his career in
creating advertisements using clay animation. He was later featured in a clay
animation walkthrough segment on a children’s show on television. It was this
experience that led Noh to become certain of the appeal of relationships and
communication based on love and happiness. Soon thereafter, in 2004, Noh boldly
shuttered his clay animation character business and began his Ph.D. program in
sculpture, rekindling and spurring on his inner desire for creativity.
As Noh set foot in the field of fine
arts again, he promised himself that he would not create works that “everyone
else does.” Instead, Noh turned his eyes to motifs towards his anthropomorphic
and symbolic animal characters such as Clo, Hayami, Kiki, and Odie, whose
energetic (animated) behaviors previously garnered the affection of a public
audience. These clay animals were thus reborn into sculptures fashioned out of
a diverse range of materials, including plastic, stainless steel, wood, stone,
and bronze. Through such initial steps he took as a sculptor, Noh identified
and built upon what he can do best, already completing the direction of his
work and selection of his subjects to a degree. As such, Noh was able to
continue his works with unimpeded initiative.
In addition to participating in various
exhibitions and winning competitions in Korea, Noh expanded his reach
internationally in regions including Japan, Taiwan, Indonesia, and the Middle
East. Throughout the entire time, the anthropomorphic animals became the
subject of his work. Conventionally, adding a touch of mythic imagination to
realistic representation has been the virtue of the sculpture genre. As such,
sculptors have focused their energy on honing their skills to the utmost
degree, while maintaining the consistency of either realistic or naturalist
expression and materials such as stone, bronze, and wood. In Noh’s work,
however, the longstanding conventions of sculptures were never applied from the
onset. Rather, Noh’s work had resulted as an extension of animation, which
entailed deliberate deformation and emphasis in attempts to bring about formatively
surprising results. Notwithstanding this, however, Noh’s works do not convey
elements of kitsch due to the artist’s rigorous technical training on sculpture
and cautiously prudent selection of materials.
Instead of remaining as individual
objectified works of art history trapped within the framework of sculptural
conventions, the animal characters in Noh’s works are injected with human
traits and thereby often serve to reflect the projections of the artist or the
viewers. As can be seen, it is somewhat impossible to distinctly separate Noh’s
work from the artist himself. The facial expressions or the motion of the
animals bear the unrealistic appearance and properties often found in
children’s toys; yet at the same time, such behavior can be seen as synonymous
to the conventional sentiments and activities of human beings. Furthermore, the
expressions and behaviors of the animals can even be interpreted as bearing the
artist’s intent, leading the works to be referred by some as animal forms that
represent humans.
Although in such context Noh’s works
have increasingly garnered interest and affection over the years, some may grow
concerned about the limitations of the material and regressive qualities of the
characters. However, Noh already appears to be aware of such concerns, as
demonstrated by the changes given to his recent works. The relief-style
expression of the characters and wrapping on the surface of sculptures appear
to be Noh’s attempts to expand his expression from the subject of the work to its
formal language. The giraffe with its head propped up above the clouds also
indicates this expansion into the realm of literary narrative and philosophical
thought.
Noh says the “restoration of
relationship” is a common theme that runs throughout his life-long oeuvre. Noh
emphasizes on the relationship between humans and animals in particular, and
it’s through such communication that Noh dreams of genuine bonding and hopes.
Although it would be difficult to make a direct comparison to Noh, the
internationally renowned forerunner of American Neo-Pop art Jeff Koons once
remarked that one of the main reasons in creating such toy-like, childish works
is “to remove the anxiety.” A single work of art might not easily change the
world just as Noh said. However, we would all be remiss to not place our dreams
and hopes in such creative endeavors, if they can get rid of the hostility and
anxiety of everyday life between human beings and between humans and animals,
and generate and maintain happy relationships between them.