His work has recently been shown at the National Museum of Modern and Contemporary Art, Korea. All fine art prints come signed, titled and numbered on enhanced matte paper, with the use of archival inks. This irony is what I wanted to communicate with this work: that a subject as huge and heavy as the ‘apocalypse’ leads us to imagine new life. The subject of this lithograph is the Greek myth of Sisyphus. New communities, new ways of life and environments-the apocalypse genre does not present us with endings, but rather speaks to the rapidly changing face of the world. Established in 1971, the Annex Galleries is a salon style gallery which specializes in. That is what makes this subject matter so compelling. Whether the apocalypse is due to zombies, disaster, plague, or war, we are shown the new world and the new ways of life that form afterward. In popular culture, apocalypses rarely appear merely as endings. The famous punishment he received can be considered an ideal of hell an endless effort put into a task that can never be completed. In particular, I referred to a scene of a village being struck by a landslide in a feature titled ‘I Was Buried Alive for 30 Days’. But I believe there are more reasons why we can imagine Sisyphus happy, and not only momentarily, even if the circumstances of his afterlife are usually painted as a grim picture of endless suffering. To that end, I used part of a 1955 comic book titled ‘My Greatest Adventure’. Instead of something serious and frightening, I wanted to create images that were light yet not light at the same time-familiar, but with a sense of distance.
The series ‘Overture’ focuses on images of disaster. Here, I used my previous still-life paintings as a kind of pictorial device on top of a simplified landscape. The backgrounds of my ‘Vase’ series feature recurring images of simplified landscapes with strong colors. Looking back on it now, I could say that the still-life paintings I used were a form of abstract art to me-since I was focusing my representation on the linear elements and forms of the flower rather than its meaning.
He casts a sharply critical eye on the ills of contemporary.
I ended up basing my flower paintings on the Dutch still-life, which emphasized death over life. Wu Junyong loves fables, fairytales and parables, and his paintings are moral allegories. But rather than emphasizing the beautiful colors and curves of the flowers, I wanted my images to tamp down the conventionally employed ‘flower elements’. In the classical still-life, most of the images symbolized something or other, and I wanted to paint only flowers, without other objects there. After I finished my second solo exhibition ‘The Grave of Books’ at the OCI Museum of Art, I wanted to step away from images that were filled with stories. The still-life paintings that feature in the Vase series come from another series of Baroque-style still-life work that I produced between 20. Sisyphus Umbilicus is comprised of a live oak burl from the low country of Savannah, GA, combined with a stone from Loch Ness, Scotland and connected by a.