SEO (artist)

Seo Soo-Kyoung (Korean: 서수경; born 1977), known by the artist name SEO (세오), is a South Korean female contemporary artist who lives and works in Berlin, Germany.[1] Her artist name comes from her family name Seo written in capital letters.[2]

SEO
Born
Seo Soo-Kyoung

1977 (age 42–43)
Gwangju, South Korea
NationalitySouth Korean
Alma materChosun University
Universität der Künste Berlin
Korean name
Hangul
Revised RomanizationSeo Su-gyeong
McCune–ReischauerSŏ Sugyŏng

Biography

Seo Soo-Kyoung was born in Gwangju, South Korea in 1977. She attended Gwangju Art High School (광주예술고등학교) from 1992 to 1996. From 1996 to 2000 she studied at Chosun University, also in Gwangju, receiving the award for the best student of the year upon her graduation. She left South Korea the same year to take up her studies at the Universität der Künste (University of the Arts) in Berlin, in 2001, as a member of the class of famous painter Georg Baselitz. In 2002, while she was still attending her basic course, the South Korean embassy commissioned SEO to design the United Buddy Bear on behalf of her native country. Together with the Governing Mayor of Berlin, Klaus Wowereit, she unveiled this Buddy Bear at the exhibition opening to launch this international art event.[3] She finished the basic course in 2003 supplementing this by the Master Course (2003–2004) thus becoming a "Meisterschülerin“ (Master Disciple) of Baselitz. The Master Disciple is the highest degree conferred on artist by art academies in Germany. In 1999 she started exhibiting her works in Galleries and museums both in South Korea, Germany and internationally, and continues to do so.[4]

Works

Although SEO counts as an artist, her works can also be seen as mixed media images. Usually a blank canvas is used to draw a preliminary design, which is then filled out by a large number of pieces of torn rice (mulberry or tetrapanax) paper pasted onto the canvas. Some of the paper used is printed especially for her in South Korea, especially the paper with patterns designed by herself. In the next step she applies thin and (semi-) transparent layers of paint to form the final image.[5]

First she developed a linear style of painting, with whitish lines aiding the definition of the figures, circumscribing the virtual contour. The white lines, however, should be seen as narrow bands of pure painting, with changing hues and densities, creating a match between micro- and macro-structural elements. She embraced European Culture, without giving up her Asian background, also engaging in “cultural reconstruction”, like when she reconstructs the spirit of German Romanticism in her paintings. There is also a blending of the conceptual and the ideal which leads to something definitely new, a process of “Creolization”.[6]

In the course of her development the linear element slowly became less prominent, her color scheme all the more poignant. The reaction to everyday issues both in life and politics, in art and culture lead to statements about these subjects on the basis of an aesthetic concept, which also embodies in a definition of the picture as a moment taken out of the unlimited context of the eternal stream of images in the mind, pinpointing not objects, but the essence of things.

The larger part of her work is created in groups of images around a certain idea, motif or concept, like, among others, the series "My German Dreams", "Rice Fields", the "War" and the "Water lilies" series. In all groups there are very large formats, but the "Water lilies" tend to be especially monumental. In the exhibition in the Kunsthalle Rostock, "close encounter – robert rauschenberg – seo" in 2008 she showed a very large size painting with a lake and waterlilies and mountains in the background. The landscape was composed of images of really existing landscapes from different countries, making it a symbol of the world, The water lilies referred to all 47 species of water lilies, also making the rendering a symbol, besides its alluding to Monet, who was at the height of his water lily-images exactly 100 years earlier. The image consisted of more than 1 million paper scraps.[7]

SEO's "Meine deutschen Träume" ("My German Dreams") deals with her experiences and relation with Germany. She treats and quotes Ernst Ludwig Kirchner, Caspar David Friedrich und Carl Spitzweg, and the sculptural works accompanying the paintings are cast in "German silver" (i. e. nickel silver, Argantan, alpacca) and show what for her is essentially German: beer barrels (Gemütlichkeit), garden gnomes (contemplativeness), stags’ antlers (power) and – cows. The latter stand for milk and cheese, as Europeans smell, for Asians, like milk. This is a form of cultural reconstruction, as both cultures are treated on the level of subject matter and style. Also the reconstruction of the emotional structure of a certain era embeds possibilities of new, contemporary insights.[8]

More recently SEO has widened her range. In an exhibition, "Personal Structures" at Palazzo Bembo, within the framework of the 2011 Venice Biennale,[9] SEO showed an installation of four of her concentric abstract "Energy" paintings in a dialogue with a box lit from the bottom with assorted rock crystals (German diamonds). She has also started to work with photography as one of her artistic media. A series of her photographs of a light bulb was published in the "art.es" magazine #47.[10] Her main gallery contact is Michael Schultz Gallery, Berlin (D), Beijing (PRC), Seoul (RK).[11]

Publications
  • SEO: Personal Cosmos, Munich, Hirmer Verlag 2011. ISBN 978-3-7774-4111-5
  • SEO: Without Words, Beijing, Today Art Museum 2010.
  • SEO: War and Peace in the 21st Century, Gwangju, Gwangju Museum of Art 2010.
  • Christoph Tannert: SEO, Munich, Prestel Verlag 2009. ISBN 978-3-7913-4368-6
  • SEO: Der Fluss findet das Meer, Dresden, Kunsthalle Dresden 2009.
  • SEO, a. o.: Constellations, Beijing 798, Biennale 2009.
  • SEO, a. o.: The Judith Rothschild Foundation Contemporary Drawings Collection, Museum of Modern Art, New York 2009. ISBN 978-0-87070-751-3
  • SEO: the cologne paintings, Berlin, Leopold-Hoesch-Museum 2008.
  • SEO: Close encounter. Robert Rauschenberg und SEO, Berlin, Kunsthalle Rostock 2008.
  • SEO: Am Ende kam der Tag, Mannheim, Kunsthalle Mannheim 2007. ISBN 3-939983-04-7
  • SEO, a. o.: German Painting, London, Marlborough Fine Art 2007.
  • SEO: Falkenrot Preis 2005, Berlin, Künstlerhaus Bethanien 2005.
gollark: Of course, good luck ever having updated drivers ever.
gollark: Rather a lot of things are compatible with LineageOS because "generic system images" exist now.
gollark: Unless you can just glue a Bluetooth one to the side.
gollark: Well, you should probably not do it if you care about keyboards much.
gollark: My current one is great apart from an entirely fried battery, I can randomly drop it and throw it at things and it takes no significant damage.

References
  1. 베니스가 주목하는 한인 화가 비엔날레 출품작 재료는 한지, The Chosun Ilbo, May 17, 2011.
  2. Andrea Schulte-Peevers Berlin Encounter - Page 139 2010 "It also works with internationally well-known Berlin-based figurative painters of the next generation, including Cornelia Schleime, SEO and Römer + Römer, a Russian-German artist couple that we've interviewed (see opposite).
  3. Klaus and Eva Herlitz: United Buddy Bears - World Tour, Neptun Verlag AG, 2006, ISBN 3-85820-189-8, page 158
  4. See Gerhard Charles Rump, Eine ganz große Zukunft. Ein Porträt der jungen koreanischen Malerin Seo, die von Deutschland aus die Kunstwelt erobern will, in: DIE WELT, August 2nd, 2003.
  5. See Bettina Krogemann, Synthetische Welten: SEO. Hanji-Papier, Reispapier, Berlin, Korea, in: Weltkunst 8/2010, pp. 114-116. ISSN 0043-261X
  6. “Creolization” is a term coined by Okwui Enwezor. The Nigeraian was curator of “documenta 11” in Kassel, Germany, he later was Dean and Vice-President of the San Francisco Art Institute to become director of the “Haus der Kunst” exhibition space in Munich, Germany. The concept is seen as an opposition to anything “multicultural”, as in creolization something new is created, different from its sources. See: Jacqueline Knörr, Kreolität und postkoloniale Gesellschaft, Frankfurt am Main: Campus Verlag 2007, esp. p. 63 ISBN 978-3-593-38344-6; and Enwezor, Basualdo, Bauer: Creolite und Kreolisierung, Plattform 3 zur Documenta 11, St.Lucia/Martinique, November 2001, Ostfildern, Hatje Cantz Verlag 2003; ISBN 3-7757-9084-5.
  7. See "close encounter – robert rauschenberg – seo", Kunsthalle Rostock, June 26 to September 9, 2008.
  8. See Gerhard Charles Rump, Rekonstruktionen. Positionen zeitgenössischer Kunst, Berlin, B&S Siebenhaar Verlag 2010, pp. 15-20. ISBN 978-3-936962-36-9
  9. Announcement on "Venice Exhibitions".
  10. See the magazine's homepage.
  11. Studio visit and interview with SEO on Vernissage TV, May 18, 2010.
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