Candy girl like pop art, rose and fairy and thereafter
Artists always march in advance or pursue new things. A British pop art painter, Richard Hamilton
had insisted that “artists with urban living in the 20th century are consumers of public culture and
have no alternative but to be contributors to the public culture potentially” in his essay of <For the
Finest Art Try Pop (1961)>in 48 years ago and paid attention to attributes of pop art which will
become popular in modern arts.
Recent arts works of Cho, Gang-Nam show attribute of very clear and firm pop artistic approach
going beyond the previous works just like Hamilton had predicted. In particular, they are creation of
works of a series of <Candy girl> symbolized in jewel or luxurious desires of women without being
limited to works with <flower> as a motive.
This pictorial changes of Cho, Gang-Nam this time have brought conversion to creation of splendid
and specific women model instead of existing feministic expression of feminism in a large stream.
For example, its specificity is added more in the parts of setting accessories only for women such
as handbag, necklace, and etc in the front using clear visual objet without being limited to simple
expression of flowers. As it is seen, an original motive in her paintings is to process it into the
shape of flower and jewel and to complete as pictorial theme.
From the early time, feminine symbol was expressed through flowers inside of her paintings but
fundamentally, desires of instinctive things women have were exposed from time to time.
However, in this time, they are expressed rather in very direct form. As a light example, forms of
attaching diamonds (Of course, they may not be real diamonds) in density on canvas or forms of
attaching diamonds on wedding dress are interpreted as expression of direct and instant feminism.
Representation of luxurious atmosphere in rather feministic preference may be expression of the
author but in fact, it corresponds to basic instinct of people that common women want to decorate.
On the contrary, in the processes of moving to more realistic and popular stage in <Candy girl>,
which is a symbol of feministic expression, it directly reflects that viewpoint of looking at women is also changing.
It was already reveled early that philosophy of Cho, Gang-Nam regarding arts is intention to
see all thing in the universe as feminism. Looking in such an visual angle, accessories in the
processes of moving into more luxurious style in the expression of rose flowers play an important
role of changed objet of feminism. In particular, attractiveness provided by splendid and beautiful
colors of objet which is considered as decoration products is appropriate for extreme preferences
of women and recent trend. Beautiful feministic symbol of roses, which was not seen in the past,
is symbolized in more transformed social conditions as the symbol is changed to diamond jewel.
Expression of these decorative objet of women is positioning as an attractive objet revealing
attributes of women instead of simple promotion of emotional and instant mood of women.
Roles of this objet for Cho, Gang-Nam have more strict meaning going beyond what is feministic.
That is, it intends to instruct instinct of women through flowers or jewel.
What are prominent in her diverse screens are accomplished by splendid appearances of Candy girl
composed of jewel and jewelry decorating the whole screen more than any thing else.
That woman is the feature of traditionally young woman decorated in accessories of Louis Vuitton
and Chanel and high heel, which represent masterpiece products, as a pattered woman but it
demonstrates moments of women at the peak, who want to become beautiful, as it is.
Women in gesture walking on street with numerous jewel attached inside paintings and pop artistic
sexy expression are expressed in a lively and vivid feeling just like a symbol of contemporary period
and are combined with jewel and gorgeous water drop patterns fashion. Since shapes of flowers and
jewel, which are motives appearing based on concentrating on delineating external images too much
in her expressions somewhat, give forthright impression but this extremely feministic expression
forms reflect sufficiently her pop artistic icon of the era in compliance with her sense of modeling
and manufacturing techniques.
As we can find out attributes or inside of this woman through her make-ups and decoration which
are general and secretive messages, she exposes 'real things' of women in attractiveness of women.
Perhaps character or start are different, if Louis Bourgeois had indulged fiercely in expressing
unconsciousness, passion, alienation, love, sex and individual problems of people through his art works,
it is clear that Cho, Gang-Nam manufactures and agonizes in a method implicating pop artistic living,
which status of women provides, through objets and images.
I think it is the most meaningful evaluation on her arts works that we recognize impulses of internal
life or desires of women are the most fundamental thing people have more than anything else.
Therefore, instinct of that woman is not unrelated to life force, essence, and a life of women in the
era like Pavant.
It is necessary for us to carefully look at pop artistic desires and expressions of women in her
arts works which are changing according to the era.
Arts works are selected and decided by artists but spiritual world is a true essence of arts.
It is because the more paintings become to have high life force through people who are looking
at the paintings the more its essence shines.
Expression of instinct desires and its world women have by Cho, Gang-Nam is now only an opening act.
It seems clear that she will reborn as a woman author equipped with another visual angle and emotion
if her desiring language settles by meeting with jewel in this post pop art era.
ㅡ Kim, Jong-Geun (Art critic, Busan International Mul-Art show Director)