GaHee Park - Tipsy Lovers, Signed (2021, Edition of 35)
GaHee Park (Korean, b. 1985) - Tipsy Lovers, Signed (2021)
Produced by Perrotin, 2021
Inkjet print with glossy varnish on nails and glasses
Satin varnished border with silver leaf detail
Somerset 410gram paper with deckled edges
Provenance: Perrotin
Limited edition of 35 + 5AP + 4HC
Signed and numbered by the artist
Image size: 40 x 30.5 cm | 15.75 x 12 in
Sheet size: 47 x 38 cm | 18.5 x 15 in
GaHee Park’s paintings may be realized in the “naive” style that recalls painters like Henri Rousseau, but her subject matter is far from it. Often depicting romantic scenes where the idyll has turned sour, the sexual acts that seem to be transpiring in her paintings are at odds with their quaint settings, where art history’s favorite still life subjects—rotund fruit, cheeses, and bottles, appear on the verge of rolling off the surface of the table: so pitched is the surface, so hyper-stylized is her take on forced perspective. And yet, space doesn’t seem to recede in Park’s paintings. It’s cancelled out by the kind of flatness only a laboring love of texture and pattern can produce. Space comes to a halt as Park revels in woodgrain and brocade. Any indication of space comes courtesy of some framed element that seems to replicate the scene, albeit with some slight modification like a game of “Spot the Difference.” A window? A mirror? Another painting? Park revels in these ambiguities as well.
GaHee Park (Korean, b. 1985) - Tipsy Lovers, Signed (2021)
Produced by Perrotin, 2021
Inkjet print with glossy varnish on nails and glasses
Satin varnished border with silver leaf detail
Somerset 410gram paper with deckled edges
Provenance: Perrotin
Limited edition of 35 + 5AP + 4HC
Signed and numbered by the artist
Image size: 40 x 30.5 cm | 15.75 x 12 in
Sheet size: 47 x 38 cm | 18.5 x 15 in
GaHee Park’s paintings may be realized in the “naive” style that recalls painters like Henri Rousseau, but her subject matter is far from it. Often depicting romantic scenes where the idyll has turned sour, the sexual acts that seem to be transpiring in her paintings are at odds with their quaint settings, where art history’s favorite still life subjects—rotund fruit, cheeses, and bottles, appear on the verge of rolling off the surface of the table: so pitched is the surface, so hyper-stylized is her take on forced perspective. And yet, space doesn’t seem to recede in Park’s paintings. It’s cancelled out by the kind of flatness only a laboring love of texture and pattern can produce. Space comes to a halt as Park revels in woodgrain and brocade. Any indication of space comes courtesy of some framed element that seems to replicate the scene, albeit with some slight modification like a game of “Spot the Difference.” A window? A mirror? Another painting? Park revels in these ambiguities as well.
GaHee Park (Korean, b. 1985) - Tipsy Lovers, Signed (2021)
Produced by Perrotin, 2021
Inkjet print with glossy varnish on nails and glasses
Satin varnished border with silver leaf detail
Somerset 410gram paper with deckled edges
Provenance: Perrotin
Limited edition of 35 + 5AP + 4HC
Signed and numbered by the artist
Image size: 40 x 30.5 cm | 15.75 x 12 in
Sheet size: 47 x 38 cm | 18.5 x 15 in
GaHee Park’s paintings may be realized in the “naive” style that recalls painters like Henri Rousseau, but her subject matter is far from it. Often depicting romantic scenes where the idyll has turned sour, the sexual acts that seem to be transpiring in her paintings are at odds with their quaint settings, where art history’s favorite still life subjects—rotund fruit, cheeses, and bottles, appear on the verge of rolling off the surface of the table: so pitched is the surface, so hyper-stylized is her take on forced perspective. And yet, space doesn’t seem to recede in Park’s paintings. It’s cancelled out by the kind of flatness only a laboring love of texture and pattern can produce. Space comes to a halt as Park revels in woodgrain and brocade. Any indication of space comes courtesy of some framed element that seems to replicate the scene, albeit with some slight modification like a game of “Spot the Difference.” A window? A mirror? Another painting? Park revels in these ambiguities as well.
