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Casper Kang

Casper Kang draws inspiration from the corpus of traditional Korean imagery, reinterpreting and presenting the history of his mother culture as a formal recollection of an alternate past. The Canadian-born, Seoul based Architect-turned-painter's attraction to the cultural legacy of Korea could very well be described as a child-like fascination that is remarkably uninformed and impartial.


His formal intent is objective rather than interpretive, resulting in a detached view towards what the images in his work might traditionally signify or represent. He appropriates and alters (sometimes beyond recognition) traditional Korean imagery in an attempt to create virtual possibilities of his cultural heritage from a perspective that is both antiquated and modern, outside of the restraints of convention or history. Images wrapped up in the cultural context of another age undergo a fundamental transformation, becoming integral components of Kang's fresh new oeuvre that is undeniably contemporary.

Casper Kang's personal objective view of the image is free from forming a work elements and meaning of the work. Casper Kang's own expression of drawing city and continuous lines create 'space'. and it creates a link between the visual images and artwork. He applied for the quality of the picture to the standards adamant, and this creates a sense of depth to the detail and sophistication in the work. In addition, Casper Kang's work receives more attention because it takes very long time and a hard process of creating the work.


Seclusion, Acrylic & Screen ink on canvas, 480x130cm, 2011


Banishment I, II, III, acrylic & screen ink on canvas, 91x116cm ea., 2011


Imperial Guard-West Portal-North Portal,East Portal, acrylic & screen ink on canvas, 91x116cm ea., 2012


Disillusionment I,II,III,IV,V, Acrylic & Screen Ink on Canvas, 90x65cm ea., 2012


Wilderness iv, v, vi, 110x110cm, Acrylic & screen ink on canvas, 2011


母(Mother) Composition I,II,III, 55x55cm ea., Pigment print on archival paper, 2014

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