Lot 80 - Sin Park - Night Sister
Coloured Pencil on Paper
A6 (10x15cm) original artwork
Signed on verso
Sin Park is a visual artist and PhD candidate in Fine Art at Glasgow School of Art.
She completed an MA in Painting at the Royal College of Art 2017, and a BFA in Painting from Ewha Womans University 2007.
Her recent works were featured in group shows including; A cabinet of Curiosities, Brownsword Hepworth Gallery, London 2020, Open Window, Square Gallery, London 2020, Annual Show, The Royal Scottish Academy, Edinburgh 2020, Elephant Lab, Colart, London 2020, Virtues of the Real/ Necessity of the Imaginary, The Art Space Glasgow 2019, Crocodile Tears, Greenpoint Open Studios 2019, New York 2020, Flourish award, Spike Print Studio, Bristol 2019 and PR1 Gallery at the university of central Lancashire, Preston 2018, Nature, ARNA, Harlösa, 2018, Skip-Ad; Play, Savoy Center, Glasgow 2018, Odyssey, Summerhall, Edinburgh 2018, One summer night, Crypt Gallery, London 2017, The Arrival, Square Gallery, London 2017, The Abstraction of Continents and The Continent of Abstraction, Lychee One, London 2016, Royal Institute of Oil Painters, Mall Galleries, London 2016, Shadow, Lichfield Cathedral, Lichfield 2016. Park was awarded the RK Burt&co. West Yorkshire 2018. She was also shortlisted in The Hopper Prize 2019, the Ashurst Emerging Artist Prize 2018, the Winsor & Newton Young Artist Award 2016, and The Lichfield Prize 2016. She participated in residencies including Elephant Lab2020, Aucart Lab London 2019, Summerhouse Dusseldorf 2018 and ARNA Harlösa 2018.2017 - PhD in Fine Art, Glasgow School of Art 2015 - 2017 MA in Painting, Royal College of Art 2007 - 2012 BA in History of Art, College of Liberal Art B.F.A in Painting, College of Art & Design, Ewha Womans University, Seoul 2020 A cabinet of Curiosities, Brownsword Hepworth Gallery, London Exh 03, Floorr magazine (online show) Open Window, Square Gallery, London Annual Show, The Royal Scottish Academy, Edinburgh Elephant Lab, Colart, London 2019 Crocodile Tears, Greenpoint Open Studios 2019, New York Bath Open Art Prize 2019, Fringe Arts Bath Festival, 44AD Artspace, Bath Aucart LAB, 189 Gloucester Place, London Flourish award 2018 tour, Spike Print Studio, Bristol 2018 Flourish award 2018 tour, PR1Gallery at the university of central Lancashire, Preston U-Star, Albereta Relais & Chateaux, Milan Flourish award 2018, West Yorkshire Print Workshop, Mirfield, West Yorkshire Summerhouse, Lindenbecker Weg, Düsseldorf, Germany ARNA opening studio, Harlösa, Sweden Skip-Ad; Play, Savoy Center, Glasgow Ashurst Emerging Artist Prize 2018 Shortlist Show, Ashurst LLP, London No Safe Haven, The Pipe Factory Gallery, Glasgow Odysseys (SYN Festival Edinburgh), Summerhall, Edinburgh 2017 One summer night, Crypt Gallery, London RCA Degree Show, Royal College of Art, London The Arrival, Square Gallery, London Under the see, Crypt Gallery, London 2016 The Abstraction of Continents and The Continent of Abstraction, Lychee One, London Royal Institute of Oil Painters, Mall Galleries, London Lost in the woods, Square Gallery, London Shadow(Lichfield Festival), Lichfield Cathedral(Emporium Art gallery), Lichfield Nothing To See Here, Square gallery, London AWARD Hopper Prize 2019 (Finalist) Bath Open Art Prize 2019 (Finalist) Flourish Award 2018, RK Burt&co. Prize, West Yorkshire, UK (Awardee) Summerhouse2018, Düsseldorf, Germany (Awardee) Ashurst Emerging Artist Prize 2018, London, UK (Shortlisted) Winsor & Newton Young Artist Award 2016, London (Shortlisted) The Lichfield Prize 2016, Emporium Art gallery, Lichfield (Finalist) Noticeable Works Award 2013, Ewha Womans University, Seoul (Awardee).
About the postcard artworks:
I am interested in notions of memory and not-knowing as methods for approaching painting. Critical to this thinking are predetermined actions set against the potential of active eruptions of moments at which the activity stretches into a space that is not-known, where actions are affected by the activity of painting. Momentary gestural action delivers a timeless desire that becomes one with another, sought within an instant through intuition and improvisation. The sensory apparatus makes this possible, makes textural surface and surface of emotional sense an extended moment of absolute proximity and distance, all at once. Within this method, I utilise motifs as a precursor to the indeterminable, through which the real, or that is to say reflections of the real, become entangled within abstract environments embedded within the surface. This all happens through the activity of painting and constructs a liberated space of complexity; I would determine this as a space of familiar unfamiliarity.