Životopis

Životopis i kritika

Životopis

Ji Suk Baek rođena je 1966. u Južnoj Koreji. U srednjoj školi primila je brojne nagrade na likovnim natjecanjima. Primljena je na Likovnu akademiju u Seulu 1985. godine i diplomirala 1989. Iste te godine sudjelovala je na izložbi Najtalentiraniji mladi umjetnici u Koreji. Osnovala je obitelj u Zagrebu 1995. Ime Jessy odabrala je zbog sličnosti sa svojim pravim imenom a zbog lakšeg izgovaranja za Europljane. Prvu samostalnu izložbu s 30 portreta djece izbjeglica iz Vukovara imala je u izbjegličkom kampu na Črnomercu. Kao članica Međunarodnog kluba žena 1999. godine sudjelovala je na skupnoj izložbi u Galeriji “Mirko Virius”. Njezina druga samostalna izložba održana je od 16. do 30.05.2003. godine u Kulturnom centru Centra Kaptol. Godine 2004. sudjelovala je na 10. Svjetskom forumu razvoja rute u Zagrebu i Madridu. Do sada je imala nekoliko samostalnih izložbi: u Centru za kulturu i obrazovanje Susedgrad,  u Galeriji Pegaz u Osijeku u listopadu 2008. s temom “Trenutak”, u zagrebačkoj galeriji Zvonimir u MORH-u 2011. te u galeriji Toš u Punatu i galeriji Ulrich u Zagrebu  tijekom 2013.

Sudionica je skupnih izložbi “Likumove generacije“ tijekom 2010., 2011. i 2013., kao i dobrotvorne likovne kolonije u samostanu Karmelićana Sv. Ilija u Bosni i Hercegovini. U zadnjih 10 godina podučavala je brojnu talentiranu djecu u Američkoj međunarodnoj školi u Zagebu, Francuskoj školi u Zagrebu, Njemačkoj internacionalnoj školi u Zagrebu i svojem ateljeu. U 2013.  upisuje posdiplomski studij  i godine 2014. magistrirala  Slikarstvo na Akademiji likovnih umjetnosti Sveučilišta u Zagrebu u klasi profesora Zlatka Kauzlarića. Članica je HDLU-a (Hrvatskog društva likovnih umjetnika).

Biography

 Ji Suk Baek was born in 1966 in South Korea. During her high school education she received numerous awards  at visual art competitions. She was admitted to the Academy of Fine Arts in 1985 from which she graduated in 1989. The same year she participated in the exhibition The Most Talented Young Artists in Korea. She started a family in Zagreb in 1995. She has choosen Jessy name because it is similar to her real name Ji Suk, and for Europeans to pronounce it with less difficulty. She had her first solo exhibition of 30 portraits of the children refugees from Vukovar in the refugee camp at Črnomerec, Zagreb. As a member of the International Women Club she participated in the group exhibition in the Gallery “Mirko Virius“, Zagreb in 1999. Her second solo exhibition was held from 16- 30 May 2003 in the Cultural Center of Kaptol Center, Zagreb.

In 2004 she participated at the 10th World Route Development Forum in Zagreb and Madrid. So far she had several solo exhibitions: in  the Center for Culture and Education Susedgrad in Zagreb, in the Pegaz Gallery in Osijek, October 2008 with the theme “A Moment”, in the Zvonimir Gallery in MOD in 2011, and during 2013. the Toš Gallery in Krk and Ulrich Gallery in Zagreb. She participated at group exhibitions of the “Likum’s Generation“ in Zagreb during 2010 , 2011 and 2013,  as well as at Humanitarian Fine Arts Colony in the Carmelites Monastery St. Elijah, Bosnia and Herzegovina.

For the past 10 years she has trained numerous talented children at the American International School of Zagreb, French School in Zagreb, German International School in Zagreb and in her studio. In 2013 enrolled in postgraduate studies and the 2014 MA in Painting at the Academy of Fine Arts in Zagreb in the class of Professor Zlatko Kauzlarić. She is a member of HDLU (Croatian Association of Artists).

Entitlement to Personal Scenery 

It is possible to observe the scenery as the motive and starting point of the painting expression through various author’s variations: from raw realism, planar reductionism, to allusive poetization and marginal area of abstraction. Of course, the spectrum is much broader. Decisive is the author’s visual sensitivity in the standardization of the expressive possibilities. The painter Jessy Baek (Ji Suk Baek) comes from the Far East, South Korea, but according to her real origin of painting is close to observational reductionism of the European heritage (although we can not expose all the influences on the painter, we can not ignore the aesthetic basis of the planar graphical expression of that same East).

The painter thus paints “the sensation of nature“ componing the good layout of the plane keenly and with self-possession. The artist’s brush and the eye get hold of things reducible to the simplicity of the achromatic and chromatic relationships. The economy of the widely laid down colour provides her with a saturated moment of the chromatic emphasis, the slantness of the rhythmical graphisms, the organization of spatial units. The tonal stability of the surface as well as its sifting through the drawer’s sharpness efficiently contrasts the plans.

The modelation treatment of the form has been replaced with spatial organizations that process the consequential effect. The clear sharpness of the plane determines the “dignity“ of the nature in an individual appearance, and the entirety of the arrangement of the colour and lines crystallize the readability of the composition. The colours in her paintings have something of graphical saturation and coloristic elementarity, but these two components are happily brought together in a valuable relationship.

 In freer parts of the painting the author has unfreezed her selfcontrol with playful ductus. This favoured that forests and wider sceneries made an utterance of the rational and emotional polarity. Not swerving into deformation, she has maintained and realized a sound painting need to prorate the visible world into a suggestive painting organism.

She created the painting experience of the nature without compromise with talents of an intelligent perceptiveness that establishes her capabilities. The planar concept of her artistic work, according to its tonal conciseness and the possibility of observation, is in favour of the contemporary scenery art of painting in terms of its duration at the level of visual literacy.Coming from afar, Jessy Baek has become close to us, and is now a part of our cultural scenery. That is a success that should be respected.

Danijel Žabčić 

 Pravo na osobni krajolik

Krajolik kao motivsko polazište slikarskog izraza moguće je sagledati kroz raznolike autorske inačice: od sirovog realizma, plošnog redukcionizma, pa sve do aluzivne poetizacije i rubnog područja apstrakcije. Spektar je dakako puno širi. Presudna je likovna osjetljivost autorice u standardizaciji izražajnih mogućnosti.

Slikarica Jessy Baek (pravim imenom Ji Suk Baek) dolazi nam s Dalekog Istoka, iz Južne Koreje, ali po svojem stvarnom slikarskom ishodištu bliska je opservacijskom redukcionizmu europske baštine (iako ne možemo izložiti sve utjecaje na slikaricu ipak se ne smije zanemariti estetska podloga plošnog grafičkog izraza istog tog Istoka). Slika tako autorica “osjećanje prirode“ pribrano i britko komponirajući preglednost plošnine.

Kist i oko zahvaćaju stvari svodljive na jednostavnost akromatskih i kromatskih odnosa. Ekonomija široko položene boje omogućava joj zasićeni trenutak kromatskog naglaska, ukošenost ritmičkih grafizama, oplošnjenja prostornih jedinica. Tonska stabilnost plohe kao i njezino prosijavanje kroz crtačku oštrinu učinkovito kontrastiraju planove. Modelacijski tretman forme zamijenjen je oplošnjenjima koja procesuiraju konzekventni učinak.

Bistra oštrina plohe određuje “dignitet“ prirode u pojedinačnoj pojavnosti, a ukupnost rasporeda boje i linija kristaliziraju čitkost kompozicije. Boje na njezinim slikama imaju ponešto od grafičke zasićenosti i kolorističke elementarnosti, ali se ove dvije komponente sretno združuju u valerni odnos.

U slobodnijim partijama slike autorica je odledila svoju samokontrolu vrckastim duktusom.To je pogodovalo da šume i širi krajolici oglase ravnotežu racionalnog i osjećajnog polariteta. Ne skrećući u deformaciju održala je i ostvarila zdravu likovnu potrebu da proporcionira vidljiv svijet u sugestivni slikarski organizam.

Slikarski doživljaj prirode kreirala je beskompromisno s darovitošću inteligentnog senzibiliteta koji afirmira njezine mogućnosti. Plošna koncepcija njezinog slikarskog rada po svojoj je tonskoj sažetosti i gledljivosti prilog suvremenom pejzažnom slikarstvu u smislu njegovog trajanja na razini likovne pismenosti.Dolazeći iz daleka, Jessy Baek postaje nam bliska, sada već dio našeg kulturnog krajolika. A to je uspjeh koji treba respektirati.

Danijel Žabčić