
So Yoon Lym is a Korean New Jersey-based artist who has spent parts of her life also in Kenya, Uganda and France and who works in different mediums. In this post, we want to introduce her ongoing series of realistic acrylic on paper paintings of hair and braid patterns, titled “The Dreamtime“.
So Yoon Lym è un’artista coreana New Jersey che ha trascorso parte della sua vita anche in Kenya, Uganda e in Francia e che lavora con diversi media. In questo post, vogliamo far conoscere la sua serie in corso di acrilico su dipinti realistici carta dei modelli di capelli e la treccia, dal titolo “The Dreamtime“. Ha iniziato la serie nell’estate del 2008 e le pitture sono basate su foto che ha preso di studenti e di stranieri si è imbattuta in Paterson, New Jersey, dove ha lavorato negli ultimi 9 anni.
She started the series in the summer of 2008 and the paintings are based on photos she has taken of students and strangers she came across in Paterson, New Jersey where she has been working for the past 9 years.
I the description on her website, she explains: “I have a strong interest in hair as a transformative vehicle of physicality. I am also interested in the associations of hair and hairstyles as indicators of social, cultural, ethnic and gender affiliations.(…) These hair and braid pattern designs are for the most part viewed from an aerial perspective. In most cultures around the world, perspective in art is aerial. It is not the egocentric perspective of European Renaissance art. The aerial perspective that the aborigines used in their art was a way of showing that nature, the land, life, the earth, all living things, and all creative forces are greater than us, but we are tied to and interconnected to all things around us as spirits floating in a time continuum.”
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La descrizione sul suo sito, spiega: “Ho un forte interesse per i capelli come veicolo di trasformazione della fisicità. mi interessa anche l’associazione di capelli e acconciature come indicatore di carattere sociale, culturale, etnica e di genere (… ..) I capelli ed i disegni delle trecce sono per la maggior parte vista da una prospettiva aerea. Nella maggior parte delle culture di tutto il mondo, l’arte è in prospettiva aerea. Non è la prospettiva egocentrica della pittura europea del Rinascimento. La prospettiva aerea che gli aborigeni utilizzavano nella loro arte era un modo per mostrare che la natura, la terra, la vita, tutte le cose viventi, e tutte le forze creative sono più grande di noi, ma noi siamo legati a tutte le cose intorno a noi come spiriti galleggianti in un unico tempo “.
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