Suprematism, Constructivism, Futurism: Friction, Destruction, Invention, Vision. 

Gallery Tour of Group Exhibition Fall 2017

Jelena Gagic ,Dillon Lemon, Jason Lake, Princess Simpson Rashid, Shyun Song, Julia Tatiyatrairong, Lesley Wamsley,  Qin Zhang

Suprematism, Constructivism, Futurism: Friction, Destruction, Invention, Vision. 

Suprematism, Constructivism, Futurism: Friction, Destruction, Invention, Vision. 

Art, as reflected through the lens of Suprematism was an innovative approach to making objects, one concerned with breaking entirely from the traditional artistic concern with composition, and replaced it with careful technical analysis of modern materials. 
  
The Futurists focus was to explore problems of representing current experience and strived to have their paintings evoke all kinds of sensations - and not merely those visible. 
  
"Suprematism, Constructivism, Futurism: Friction, Destruction, Invention, Vision" is the inaugural group themed exhibition for Phylogeny Contemporary's permanent Seattle gallery home.  

The selected artists :Jelena Gagic ,Dillon Lemon, Jason Lake, Princess Simpson Rashid, Shyun Song, Julia Tatiyatrairong, Lesley Wamsley,  Qin Zhang were chosen each for their specific and careful response to the vague and historical query. Several artists’ responses were perfect representations of the period of art history. Others took the challenge to continue the movement to current societal viewpoints of obsolescence and identity. 
  
Art created for the purpose social inquiry can communicate and confuse. The perspective is all within the viewer. The answer may even be written neatly next to the work of art to describe the very intention of the work of art. Individual response will be personal. Phylogeny in its definition is the evolution of a concept or idea. 
  
Art all chiefly requires the participation of the beholder for full potency. 
  
Please join us throughout this exhibition for a series of events culminating in an on-site Philanthropic Incubator Laboratory. 
 
Opening Wednesday, September 6, 5-8 PM
Exhibition Runs through October 28, 2017
  
P.I.L.  September 22 & October 20th 5-7PM 

Shyung Song, Strife, oil on canvas, 36" x 24", 2016.

Shyung Song, Strife, oil on canvas, 36" x 24", 2016.

ARTIST BIOGRAPHY: SHYUN SONG

Born and educated in Korea, I moved to the United States in 1989. I hold a B.A. and M.A. in Education from Ewha Womans University, Seoul, Korea. My work experience includes 15 years as a banker in Korea and 3 years teaching in Los Angeles.

After moving to New York in 2000, I studied at the Art Students League of New York with William Scharf. I am currently painting full-time at my home studio.

It took me several decades to return to my first love: art. In grade school, I was a self-motivated young artist. During my adolescent years, however, the scope of my curiosity about life widened and art seemed too narrow a path for me. In college, the motto of my major, self-realization, inspired me and became an enduring theme in my life. While I was writing a critical analysis on children’s literature for my Master's degree in Education, I was convinced of the fullness of the human potential.

I enjoyed my banking career for its constantly challenging situations that demanded me to develop the wide spectrum of my potential. Teaching, however, was not for me, although it was rewarding. When I began drawing at the League, I found myself feeling immediately at home. Resuming art meant a homecoming after a long excursion. Art satisfies me fully, since it demands all of my being and that of the viewer, too. I believe that a total rapport through art can expand our souls.

My work has been exhibited at The Katonah Museum of Art in New York, Porch Gallery Ojai in California, The Hyde Bridge Gallery at The Yeats Society in Sligo, Ireland, Annmarie Sculpture Garden & Arts Center in Maryland, and more recently at ARC Gallery in Chicago.

ARTIST STATEMENT

My journey in art, as with our journey in life, is an evolving process which follows its due course. After the phases of representational figure painting and minimal colorfield naturescapes, I am now in the current state of conceptual painting which depicts the inner realms — spiritual and existential. Whereas the general definition of conceptual art emphasizes the idea of a work over the aesthetic in itself, I believe that a conceptual work can be equally significant in terms of both the visual and theoretical aspects.

Painting is not merely an aesthetic endeavor for me, but also an existential one.

Life has always been the most intriguing subject to me. I see it as a giant sphere which coalesces with the myriad facets of the shared human experience. I aim to express how I perceive such facets on canvas.

I begin my delineation with a subject, which usually becomes the title of the painting. The delineation is succinct in order to capture the essence of the subject. I let my intuition dictate a geometric composition by applying my own symbolic logic.

The lines, shapes, angles, and placements are formed and the color scheme follows.

While executing it on canvas, I find myself instinctively improvising along the way to achieve its aesthetic value.

Art satisfies me fully as it demands all of my being, as well as that of the viewer.

I believe that a total rapport through art can expand our souls.

Shyun Song

Shyung Song, Anguish, oil on canvas, 36" x 24", 2016.

Shyung Song, Anguish, oil on canvas, 36" x 24", 2016.

ARTIST BIOGRAPHY: SHYUN SONG

Born and educated in Korea, I moved to the United States in 1989. I hold a B.A. and M.A. in Education from Ewha Womans University, Seoul, Korea. My work experience includes 15 years as a banker in Korea and 3 years teaching in Los Angeles.

After moving to New York in 2000, I studied at the Art Students League of New York with William Scharf. I am currently painting full-time at my home studio.

It took me several decades to return to my first love: art. In grade school, I was a self-motivated young artist. During my adolescent years, however, the scope of my curiosity about life widened and art seemed too narrow a path for me. In college, the motto of my major, self-realization, inspired me and became an enduring theme in my life. While I was writing a critical analysis on children’s literature for my Master's degree in Education, I was convinced of the fullness of the human potential.

I enjoyed my banking career for its constantly challenging situations that demanded me to develop the wide spectrum of my potential. Teaching, however, was not for me, although it was rewarding. When I began drawing at the League, I found myself feeling immediately at home. Resuming art meant a homecoming after a long excursion. Art satisfies me fully, since it demands all of my being and that of the viewer, too. I believe that a total rapport through art can expand our souls.

My work has been exhibited at The Katonah Museum of Art in New York, Porch Gallery Ojai in California, The Hyde Bridge Gallery at The Yeats Society in Sligo, Ireland, Annmarie Sculpture Garden & Arts Center in Maryland, and more recently at ARC Gallery in Chicago.

ARTIST STATEMENT

My journey in art, as with our journey in life, is an evolving process which follows its due course. After the phases of representational figure painting and minimal colorfield naturescapes, I am now in the current state of conceptual painting which depicts the inner realms — spiritual and existential. Whereas the general definition of conceptual art emphasizes the idea of a work over the aesthetic in itself, I believe that a conceptual work can be equally significant in terms of both the visual and theoretical aspects.

Painting is not merely an aesthetic endeavor for me, but also an existential one.

Life has always been the most intriguing subject to me. I see it as a giant sphere which coalesces with the myriad facets of the shared human experience. I aim to express how I perceive such facets on canvas.

I begin my delineation with a subject, which usually becomes the title of the painting. The delineation is succinct in order to capture the essence of the subject. I let my intuition dictate a geometric composition by applying my own symbolic logic.

The lines, shapes, angles, and placements are formed and the color scheme follows.

While executing it on canvas, I find myself instinctively improvising along the way to achieve its aesthetic value.

Art satisfies me fully as it demands all of my being, as well as that of the viewer.

I believe that a total rapport through art can expand our souls.

Shyun Song