Clara Eugène in Conversation with Artist Jang Kwang Bum

Jang Kwang Bum’s abstract landscapes are inspired by nature, particularly mountains, and the elements of fire and water. Through the vibratory movements he creates, he explores and expresses the notion of temporality by accumulating layers of time on his canvases with each layer of paint.

Originally from Korea, Bum has lived and worked in Paris since 2007. He is represented by the Françoise Livinec Gallery, which recently presented new works for his latest solo exhibition Montagnes fluides. We recently caught up with the artist to learn more about the philosophy behind his practice and the profound impact France has had on his creative process.

Jang Kwang Bum in his studio. © The Artling.

Clara Eugène: You recently presented your eighth solo exhibition called Montagnes fluides, meaning ‘floating mountains,’ at the Galerie Françoise Livinec in Paris. Could you expand on the title of this exhibition and the artwork in it?

Jang Kwang Bum: I’m interested in the form of time, which is inscribed in all beings and in all things. For this exhibition, I chose to study the way the mountain evokes the passage of time. Mountains are my primary source of inspiration. For many civilizations, the mountain existed before the concept of time was born and has the greatest knowledge of the world. My home country, Korea, is composed of 70% mountains. It’s in this environment that the ancient Korean sages forged their minds and acquired "the truth of nature," a knowledge that includes understanding the relativity of time. The mountain is also a subject that can be found a lot in ancient Korean paintings. These mountain landscapes are called Sansuhwa (산수화). For a long time, I have been breathing in the vitality of the mountains. I breathe it out today through my paintings.

CE: Could you tell us about your creative process?

JKB: In my work, the notion of time is reflected in the repetitive forms that are inspired by natural elements such as mountains, fire or water. In my work, the notion of time is paramount. It is reflected in the repetitive forms inspired by natural elements but it is also expressed through my creative process. I spend most of my time applying and drying multiple layers of acrylic on the canvas. My time is spent not only layering the paint but also in the delicate process of scraping and sanding to reveal these multiple monochromatic or multi-colour layers and form patterns. Just as the earth is stacked layer by layer to form a mound, or as concentric rings are formed on the stump of a tree, I accumulate layers of time on the canvas and then make it disappear, as if I wanted to go back in time. It is in this way, almost geologically, that my work questions temporality.

Kwang Bum Jang, Montagne bleu, 2019. Acrylic on canvas and sanding. Courtesy of the artist.

CE: How did you get into art and when did you decide to make it your professional career?

JKB: Since I was little, I like to observe and draw what I see. Being an introvert, art is also a great way for me to express myself. When I was 15, I started to work in a private artist's studio in order to enter the Seoul School of Fine Arts. I graduated with a BFA and decided to move to France to continue my studies. France inspires me a lot with its landscapes, but also with its history and its artists. Living in France also allows me to visit more exhibitions and participate in many cultural events, which pushes me to develop my creative process more and more. Paradoxically, this distance from my roots has also allowed me to find Korea as a source of inspiration.

CE: You moved to Paris in 2007. Was there a particular reason behind this choice?

JKB: In 2004, I moved to Nantes to continue my studies. I was fascinated by the coexistence of tradition and modernity in this city, and by the innovative and creative architecture of many new buildings. This is what prompted me to move to Paris, where the cultural dynamism inspires me greatly.

Jang Kwang Bum, Reflet B-1, 2016. Acrylic on canvas and sanding. © Françoise Livinec.

CE: Could you tell us about how you get inspiration? Does it come from a particular artist, culture or history?

JKB: I was very interested in French modern art, especially in the Nabi, Impressionist, and Expressionist movements. I was particularly fascinated by the simplified and symbolic colours and forms of the Nabis. The forms of water and fire have become the main motifs of my work overtime. I’m also inspired by the great French literary movements and philosophers. Water and Dreams by Gaston Bachelard has particularly allowed me to approach the poetic and individualistic expressions of the fundamental elements of nature.

Thanks to Jang Kwang Bum on behalf of MADE IN BED.

Clara Eugène

Contributing Writer, MADE IN BED