Teawoong, Rho artist biography
Biography
Taewoong Rho was born in Daegu in 1955, and today he lives and works in Deagu, Korea. He studied Fine Arts and later he was awarded Master fo Painging at Keimyung Univiersity in Deagu. He was a professor of fine art at Deagu University of Art from 1933 - 2012.
Taewoong Rho`s painting is based on realism that expresses Korean Landscape. However, his painting should not ne construed as mere reallism. He seems to be transferring his own internality into the natural scenery through his unique colour management, symbolism, an unfettered technique such as engraving technique, and artificial Mathieur effect by the alluvity of painted marble powder.
He does not simply stay in capturing the static moments of things, but there is a sense of joy in Korean landscapes, especially urban people.
SOLO EXHIBITIONS
2017 MAKE Gallery Roh Tae-Woong Invitation Exhibition, Seoul
2015 United Gallery Roh Tae-Woong Invitation Solo Exhibition, Seoul
2013 Roh Tae-Woong’s Memories on Dabu-dong, Daegu Culture and Art Center
2010 Millenium Seoul Hilton Special Invitation Exhibition, Millenium Seoul Hilton
2009 Roh Tae-Woong Exhibition, Insa Art Center, Gallery Luben
2008 Dongsung Gallery Roh Tae-Woong Invitation Exhibition, Seoul
Beijing Jiahua Gallery Roh Tae-Woong Invitation Exhibition, China
Sejong Gallery Roh Tae-Woong Invitation Exhibition, Seoul
JUNO Art Gallery Roh Tae-Woong Invitation Exhibition, Daegu
2007 Yeemock Gallery Roh Tae-Woong Invitation Exhibition, Seoul
2005 Roh Tae-Woong Exhibition, Lotte Gallery, Seoul
2003 Roh Tae-Woong Exhibition, Daegu Culture and Art Center
MANSOUR+HILL Roh Tae-Woong Invitation Exhibition, Australia
1998 Roh Tae-Woong Exhibition, Daegu Culture and Art Center
1996 Dongsung Gallery Roh Tae-Woong Invitation Exhibition, Seoul
1993 Green Pan Gallery Roh Tae-Woong Invitation Exhibition, Seoul
Maek Hyang Gallery Roh Tae-Woong Invitation Exhibition, Daegu
1991 Songwon Gallery Roh Tae-Woong Invitation Exhibition, Seoul
Hanil Gallery Roh Tae-Woong Invitation Western Painting Exhibition,Busan
Art House Gallery Roh Tae-Woong Invitation Exhibition, Japan
1990 Matsukawa Gallery Opening Commemorative Exhibition, Japan
Maek Hyang Gallery Roh Tae-Woong Invitation Exhibition, Daegu
1988 Songwon Gallery Roh Tae-Woong Invitation Exhibition, Seoul
1986 Maek Hyang Gallery Roh Tae-Woong Invitation Exhibition, Daegu
SOLO EXHIBITIONS
2017 Paintings with Poems, Gallery Seorim
2016 Daegu-Chengdu International Exchange Art Exhibition, Daegu Culture and Art Center
Daegu-Jiangsu Sheng Photography and Art Exchange Exhibition,Daegu Culture and Art Center
Sendai –Daegu International Art Exchange Exhibition, Japan
Encompassing Daegu Art, Daegu Arts Center
2015 Daegu – Budapest International Art Exchange Exhibition, Daegu Culture and Art Center
Special Exhibition for Cover Artists of Art World- Unfold 70 Years of Korean Arts, Gallery Art World
Pyeongchang Biennale Special Exhibition – POST Park Su-Geun, Pyeongchang
2014 Daegu Established Artists Invitation Exhibition, Daegu Culture and Art Center
2013 Gyeongju Art 2013, Gyeongju Gymnasium Daegu · Shanghai Exchange Exhibition, Daegu Culture and Art Center
2013 Daegu International Network, Suseong Artpia
Beautiful Works, Beautiful Relations, Jin Gallery, Seoul
2011 Paintings with Poems, Gallery Seorim
Korean Contemporary 100 Artists Invitation Exhibition, Exhibition hall of Gyeongju International Culture Expo
Beautiful Waterways, Seoul Arts Center, Seoul
2010 Daegu Art Fair, EXCO
Rediscovery of Landscapes, Gallery Sohyeon
Beautiful Mountains and Streams, Seoul Arts Center
33th Anniversary Exhibition of Sun Gallery, Sun Gallery, Seoul
34th Anniversary Exhibition of Mack Hyang Gallery, Mack Hyang Gallery
2009 Fall with Yearning, Gallery Seorim, Seoul
17th Anniversary of Diplomatic Relations Establishment between Korea and China, Sunshine International Art Museum, China
Beautiful Mountains and Streams, Sejong Culture Center, Seoul
2008 Daegu Art Fair, EXCO
Korea Art 43 Invitation Exhibition, Gallery Tableau
Size 300 Invitation Exhibition, Gallery Prado
2007 Daegu Art,2007, EXCO
Mokwoohoe-Uzbekistan International Exchange Exhibition, National Museum of Modern and Contemporary Art
Midsummer Night’s Sonata, Exhibition Hall of National Lighthouse Museum
Our Land, Our People’s Breath, Exhibition Hall of Gwangju
Folklore Museum
2006 Daegu-Saint-Petersburg Art Exchange Exhibition, Daegu Culture and Art Center
Scent of Heart Seen through Paintings, Gallery Tableau
Comprehensive Exhibition for 21C Korea·France
Representative Figurative Artists, Sejong Culture and Art Center
Heart of 120 Korean Artists, Sejong Culture and Art Center
2005 Daegu Gyeongbuk Art in Korean Contemporary Art, Cian Art Museum
EUROPE GENEVA ART Fair, GENEVA PALEXPO
Image and Code – Freedom from Nature, Dongje Art Museum
Chaumont Exhibition, France
Korea Art Festival, Sejong Culture and Art Center
2004 Mokwoohoe – Vietnam Artists Exchange Exhibition, Sejong Culture and Art Center
Daegu – Milano Art Exhibition, Daegu Culture and Art Center
Mokwoohoe – Pakistan Joint Exhibition, Seoul Museum of Art
2002 Korea International Art Fair, BEXCO, Busan
2001 14 Figurative Artists Exhibition, Gongsan Gallery
Landscape of Landscapes, Busan Museum of Art
2000 Millennium Environmental Art Exhibition, Seoul Museum of Art
1999 Oh, Korea, Gallery Sang, Seoul
Roads of Korea, Seoul Arts Center
1998 Daegu – Shanghai International Exchange Exhibition, Daegu Culture and Art Center
Korea International Exchange Exhibition, Gungsung
Museum, Sendai, Japan
1997 70 Year History of Daegu Art, Daegu Culture and Art Museum
1996 Korea Gallery Association Art Festival, Seoul Arts Center,
Jungang Gallery selected
Surmounting Notions ‘Unusual Materials-Expression’, Daebaek Plaza Gallery
1995 Status of Korean Art, Baeksang Gallery, Seoul
1994 Korea·Russia Artists Invitation Exchange Exhibition, Exhibition Hall of Russia Artists Alliance
Perspective on Art of the 90s, Johyeong Gallery, Seoul
1993 Works on DMZ, Seoul Museum of Art
Jeju Shilla Art Festival, planned by Gana Gallery
1992 Selected Artists Invitation Exhibition, Seoul Newspaper Gallery
Spiritual Flow of Tradition, Restoration of Korean Identity, Seonam Art Museum, Seoul
Yanghwa Same Generation Exhibition, ARARIO Gallery, Daejeon
Restoration of Humanism, Gallery Focus, Seoul
1991 Tokyo International Art Show, Matsukawa Gallery, Tokyo, Japan
1989 Today’s Local Artists, Geumho Museum, Seoul
1988 Korean Gallery Association Art Festival, Hoam Gallery, Songwon Gallery selected
1986 Korean Gallery Association Art Festival, Deoksugung Contemporary Art Museum, Mack Hyang Gallery selected
It is the heart;
The heart is important. Everything depends on the way in which we approach it from our mind. The world can be achieved or destroyed depending on the mind. Things done with the mind and heart are different. We do things without orders from others or others watch us if we want. The mind is the basis for everything, and we can live with this mind.
Not the eyes;
Sensitivity in this era of SNS in which people use compressed language has greatly changed the way people consume arts. Movies and commercials rather than poems and novels represent the era, and the brilliant images changing several times in a second permeate our lives, making us accustomed to the pattern. Eyes are the organ serve as the basis for such senses. Seeing has become the most important source of the senses in this era, with the creed of capitalism telling us ‘to see is to consume’ underlies this base. I once described this era somewhere as the ‘empire of the senses, the hell of techniques’.
In the real world by using canvas and oil to make experiences meaningful, and to share with others, it is nearly impossible in such an era to foster sentimental shock or sensuous tokens, which have been invisible. Nevertheless, paper books of poetry are still arranged in the corner of big bookstores, and numerous artworks are still showcased in numerous exhibitions. They are all done by the heart and mind.
Roh Tae-Woon dispels the prejudice towards contemporary art that it is difficult to understand. It is, in a sense, because the images remind us of nostalgia and our sentiments for nature, and it is also because in his works he minimizes the idea of contemporary art connected with knowledge and philosophy. Viewers don’t need to rely on experts’ explanations, assessments, or appraisals in understanding his works. Viewers just can accept it with their heart. I have to confess that maybe this critique is part cliche, unnecessary comments disrupting the genuine appreciation of his work.
Great paintings flow beyond time and reality and make people reflect. Such works are usually the artist’s ‘sincere language and gesture of confession’ containing the artist’s heart. Such confession reveals itself, and at the same time erases itself, and opens up to us. The first virtue of Roh Tae-Woong’s works is the very sincerity, and through his works, based on this sincerity, we encounter unexpected and long-forgotten emotions. Furthermore, if emotions remind us of the problem of ‘self-existence’ by which we try to live free of convention, we are a little closer to his heart.
Not the head;
Doing exactly what we desire is surprisingly rare in this empire of capital founded on sense and technology. This is because manuals and capital come first, while watchful eyes surround us. Most people are conscious of the eyes of others around them. However, we can meet people who do what they want without being conscious of others. This can be possible with the heart. The mind can be destiny, destiny can be truth, truth can make us love ourselves, and with love we can be free.
So far, we have thought and been educated that concepts and interpretations are the spirit of contemporary arts. To a generation brought up on such educational ideas, Roh Tae-Woong’s works can be thought of as antiquated; however, this thought also arises from convention and is an example of not approaching his works with an open heart. If you can see his canvas with your heart and mind, you can hear someone call, and you can find yourself looking back without anyone calling you. His works, not breaking expectations, not being brilliant, nor calling for attention, force us to confront inattentive and acute solitude. In such a place of solitude, we can speak from our heart. It is beyond my ability to summarize or interpret the space or the mind. Ijust self-reflect again and again.
His works are a certain confession. Through the confession and in the confession he meets the unknown world and becomes free. At this time, his works do not require interpretation, but experience, a charming experience such as anonymous love.
Appreciating artwork is definitely an independent experience. It is absolutely an individual action that cannot be done by others, and it is best known by the individual. It is unfortunate to have to rely on others and accept their appraisals in this precious experience. We should dive right into this experience with our heart and soul. By experiencing the faint waves and vibration of such an experience we can enjoy happiness and feel the genuine meaning self-existence. In that respect, the focal point of Roh Tae-Woong’s work is the past, but the space is with me in the present.
Once again, it is the heart;
His works are refined and sedate just like him. Viewers can empathize with the heights of his contemplation and converged sentiments regardless of whether they have expert knowledge on art. It is possible thanks to the brushstrokes of the artist living like a monk and having solitude as his destiny, alongside his confession that it is the process of paving the way for a valuable life. In an era in which worldly desires seem natural and drive artists more than ever, his works, seeking genuine freedom between life and art, are small gestures to return to being human with a human heart in this era of capital. These gestures are intrinsic minds without being conscious of pretense and the judgment of others, or being uneasy about his mind, and acting on that uneasiness. These are works which strike at my heart in their full form.
As Chinese art critic In Jinan says “appreciators, if they are friends or enemies, are the basis to finally realize the value of artwork.” In the end, we determine the value of Roh Tae-Woong’s works, and the verification of that value begins from the magnifying glasses of each individual’s heart rather than educated knowledge or the appraisal of experts. If we, accordingly, can hear the inner soliloquy condensed deeply, we have already shared the value.
Our hearts make this possible. Thanks to his works, my 2017 was solitary, but not lonesome.
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