“CASH MONEY”

PORTRAITS OF KOREAN CASH

130 X 390 CM (3 PIECES)

ACRYLIC & SCREEN INK & INTERFERENCE ON CANVAS

2010 CASPER KANG
이황 신사임당 세종대왕

Images may not be used without consent

2009 Casper Kang

“1000% ASTERISK”

130 X 160 CM

ACRYLIC & SCREEN INK & INTERFERENCE ON CANVAS

2009 CASPER KANG

Images may not be used without consent

2009 Casper Kang

“창녀시대” (PROSTITUTES’ GENERATION) (3 PIECES)

116 X 90 CM, 90 X 116 CM, 116 X 90 CM

ACRYLIC & INTERFERENCE & SCREEN INK ON CANVAS

2009 CASPER KANG


“고민고민하지마”

몸 팔고 다니는 사람들/정신을 팔고 다니는 사람들/남의집 딸은 돈주고 자고 자신의 딸은 고귀한 아저씨들/양심을 버리고 돈을위해서 고생하는 사람들/나도/당신도/모두가 어느 정도는 창녀같다/소녀시대가아닌/지금은 창녀시대/오빠오빠/빨리빠리. . .

I’m not hating on certain Korean pop (gayo) figures. It’s not all their fault. . .after all, I guess most people would want fame and/or monetary success to varying degrees. So being a “musician” or “singer” while having no real ability to create any music oneself and always lipsyncing is pretty normal in the Korean “music” industry. But that’s accepted as the norm. . .they’re just performers. . .so one day I was waiting in the subway and was looking at one of those new LCD screens they have installed all over the place, and I saw the favorite of all favorites amongst most males in Korea, “Girls’ Generation” (소녀시대). Not only due to the fact that they were dressed scantily in short shorts, surgurized faces, and uniforms which seemed to convey a pseudo sailor look, but also since they (like 99.999% of mainstream Korean “singers”) lack any musical talent, I thought, “prostitutes.” I also thought they reminded me of North Korea, since there’s like 9 of them doing identical dances wearing matching uniforms. I’m pretty sure Kim Jong-Il would love them. Walking around my neighborhood which is heavily populated by pimps and prostitutes, every night the streets are flooded with these small cards featuring half-naked women, “seductive” phrases, and a phone number where you can arrange to sleep with a pretty young thing. So I based the composition and subject matter on these cards (maybe I’ll scan a few of the cards and upload them later), and used some lyrics from certain Korean pop songs, and used some patterns from money (korean bills) in the background. I guess what I was thinking about when doing this series was the fact that prostitutes, both the literal ones who sell their bodies, as well as the constitution of a prostitute as a purist pursuit of profit (Thanks Lupe), are the defining persona of modern advanced capitalist society. Who really loves their job? Probably just a few lucky people. We all have to work for money, and some people are willing to do more for money than others. Our society glorifies some professions and condemns others based on perhaps their contribution to society. . .but to some degree, we are all prostitutes. . .selling out our minds, bodies, ideals, morals, and souls for money. So I’m saying. . .yeah, “Girls’ Generation” is famous. . .but we’re living in a prostitutes’ generation full of pimps, hoes, and hustlers.


Varying interference effects visible depending upon lighting and angle of viewpoint.


“오늘밤매일밤”


Varying interference effects visible depending upon lighting and angle of viewpoint.


“소원을 말해봐”

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2009 Casper Kang

“DANCE DANCE DANCE”

390 X 160 CM

ACRYLIC & INTERFERENCE & SCREEN INK ON CANVAS

2009 CASPER KANG

0220_DDD_00Dance like you want to win.
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Images may not be used without consent

2009 Casper Kang

“OTTOGI” (오뚜기)

90.5 X 60 CM

ACRYLIC & INTERFERENCE & SCREEN INK ON CANVAS

2009 CASPER KANG

OTTOGI, Since 1969.

우리나라는 모든것을 빨리 빨리, 식문화도 빨리 빨리, 그것을대표하는 오뚜기

A symbolic reference to the state of mind pervading Korean society which demands everything, including the basic element of food, to be solved as quickly as possibly, if not instantly. As one of the oldest and most established Korean confectionary companies, their logos cover a large proportion of instant foods, snacks, and beverages in any convenience store/supermarket. The Ottogi logo exists as a representation of the “quickly-quickly!” aspect of Korea.


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2009 Casper Kang

“ORION” (오리온)

90.5 X 60 CM

ACRYLIC & INTERFERENCE & SCREEN INK ON CANVAS

2009 CASPER KANG

ORION, Since 1956.

우리나라는 모든것을 빨리 빨리, 식문화도 빨리 빨리, 그것을대표하는 오리온

A symbolic reference to the state of mind pervading Korean society which demands everything, including the basic element of food, to be solved as quickly as possibly, if not instantly. As one of the oldest and most established Korean confectionary companies, their logos cover a large proportion of instant foods, snacks, and beverages in any convenience store/supermarket. The Orion logo exists as a representation of the “quickly-quickly!” aspect of Korea.  
Images may not be used without consent

2009 Casper Kang

“ORION” (오리온)

90.5 X 60 CM

ACRYLIC & INTERFERENCE & SCREEN INK ON CANVAS

2009 CASPER KANG


ORION, Since 1956.

우리나라는 모든것을 빨리 빨리, 식문화도 빨리 빨리, 그것을대표하는 오리온

A symbolic reference to the state of mind pervading Korean society which demands everything, including the basic element of food, to be solved as quickly as possibly, if not instantly. As one of the oldest and most established Korean confectionary companies, their logos cover a large proportion of instant foods, snacks, and beverages in any convenience store/supermarket. The Orion logo exists as a representation of the “quickly-quickly!” aspect of Korea.
Images may not be used without consent

2009 Casper Kang

“NONGSHIM” (농심)

90.5 X 60 CM

ACRYLIC & INTERFERENCE & SCREEN INK ON CANVAS

2009 CASPER KANG

NONGSHIM, Since 1965.

우리나라는 모든것을 빨리 빨리, 식문화도 빨리 빨리, 그것을대표하는 농심

A symbolic reference to the state of mind pervading Korean society which demands everything, including the basic element of food, to be solved as quickly as possibly, if not instantly. As one of the oldest and most established Korean confectionary companies, their logos cover a large proportion of instant foods, snacks, and beverages in any convenience store/supermarket. The Nongshim logo exists as a representation of the “quickly-quickly!” aspect of Korea.
Images may not be used without consent

2009 Casper Kang

“NONGSHIM” (농심)

90.5 X 60 CM

ACRYLIC & INTERFERENCE & SCREEN INK ON CANVAS

2009 CASPER KANG

NONGSHIM, Since 1965.

우리나라는 모든것을 빨리 빨리, 식문화도 빨리 빨리, 그것을대표하는 농심

A symbolic reference to the state of mind pervading Korean society which demands everything, including the basic element of food, to be solved as quickly as possibly, if not instantly. As one of the oldest and most established Korean confectionary companies, their logos cover a large proportion of instant foods, snacks, and beverages in any convenience store/supermarket. The Nongshim logo exists as a representation of the “quickly-quickly!” aspect of Korea.

Images may not be used without consent

2009 Casper Kang

“CELEBRITY FA_E”

116 X 90 CM

ACRYLIC & SCREEN INK ON CANVAS

2009 CASPER KANG
0150_FAME CHOOSE THE ANSWER WHICH BEST PERTAINS TO CELEBRITY:

A. F A M E

B. F A K E

C. F A C E

D. F A T E

E. ALL OF THE ABOVE
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2009 Casper Kang

“ENVY”

116 X 90 CM

ACRYLIC & INTERFERENCE & SCREEN INK ON CANVAS

2009 CASPER KANG

0140_ENVY_116 X 90 CM

The iconic, and perhaps single significant Korean animation character, “둘리” (DOOLY), first aired on KBS in 1987. Portrayed here as a golden “idol” frozen in a perpetual state of envy towards all. I’m almost absolutely positive that Dooly is the most recognized (historically, and throughout a larger generational audience than the newer, contemporary characters) within Korea, but the world is a big place. . .there are bigger fish and sharks and giant squids with eyes the size of dinner plates. Poor Dooly, you’re so unknown outside of your motherland, and you were quite crudely drawn even for back then. . .but still you’re the biggest barracuda in your lake(?), so just chill, because we love you.

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2009 Casper Kang

panorama09053My cramped studio.

09.04.30

“SCREW BAR” (GRAPE SHUKURU-BA(스크류바) UNDER RUNNING TAP WATER)

116 X 90 CM

ACRYLIC & INTERFERENCE & SCREEN INK ON CANVAS

2009 CASPER KANG

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Let me be as cold as a Cold Stone Creamery granite slab buried in an iceburg floating in a sea of liquid nitrogen on Pluto Amen.

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2009 Casper Kang

LIMITED EDITION BROOCHES FOR “PHANTASMAGORIA III” EXHIBITION

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brooches1TOP ROW: (A) CADMIUM RED / (B) N4 GREY / (C) TITANIUM BUFF PINK  

BOTTOM ROW: (D) TURQUOIS (PHTHALO) / (E) LIGHT MAGENTA / (F) AZURE BLUE 

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2009 Casper Kang

“LUCID DREAM$”

116 X 90 CM

ACRYLIC & INTERFERENCE & SCREEN INK ON CANVAS

2009 CASPER KANG

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2009 Casper Kang

“PAPER DOLL” (된장종이인형)

130 X 160 CM

ACRYLIC & SCREEN INK ON CANVAS

2008 CASPER KANG

0090_paper-dolleb909cec9ea5eca285ec9db4ec9db8ed9895_130-x-160-cm1

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0096_paper-dolleb909cec9ea5eca285ec9db4ec9db8ed9895_130-x-160-cm-detail63In Korea, the expression “된장녀” (literally, dwen-jang girl) refers to a person who leads a materialistic life obsessed with outer appearance, heavily based on receiving admiration for owning popular, or internationally reknown designer brand clothing/items. I really think everyone has this sort of aspect in terms of their image, whether it be their self-image, or how they want to present themselves to others.

Using paper($) to cover herself up, just to show other that they aren’t up on this.

People all over the world judge people based on their appearances to some degree. In Korea, it’s so obvious that women especially are judged by their appearances. At first, when I heard that the majority of Korean women has at least some form of cosmetic surgery (bigger eyes, higher nose, protruding forehead, sharper chin, etc.) I was a bit resentful toward them in general. I still think it’s pretty sad, and I definitely don’t approve of it, but I can understand now why they think that way, growing up in such a superficial world. People here, and everywhere have been conditioned to the point where you can’t really blame them. Even their conditioning has been conditioned. Seriously, Seoul. . .is super superficial. I’ve been living here for almost 5 years now, and I know for sure I worry so much more about my appearance than before.

I tried to depict a neutral point of view with this painting. I’m not saying fussing over appearances is good or bad. If someone thinks its cool, then I want them to see this, and think, “Yeah, what a cool chick.” On the other hand, if they think someone like this is totally fake then I want them to agree with the painting in that sense.   

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2009 Casper Kang

The origin of Casper Kang’s “Asterisk Shell” logo

Way back before I can remember, I used to love drawing asterisks, or stars. At school on notes, at work during business meetings where my bosses and coworkers were speaking in Korean that was too difficult for me to understand, at university lectures where I was mostly disinterested. . .I would be drawing small asterisks. Here is an old scan of some asterisks I drew around 1997.

stars1I loved asterisks so much that I began to use them as my signature (ie. when I use my debit card, etc.).

I guess an asterisk is commonly used when people write stuff and they want to signify something exceptional, important, or special.

 

 

cdface-converted

 

 

The “new asterisk” which I arrived at by drawing an outline around an aterisk, I think means the shell, or threshold of something special. Everything and everyone is special in some way, but most things and people don’t get a chance to be noticed or appreciated. . .I think. Things and people who get noticed are more special on the outside; on their shell. Even though they might not be so great inside, or in terms of their essence, as long as they have the right “image” or “aura” around them, they will be recognized as special. The packaging is more important than what’s inside in our advanced capitalist society. That’s pretty sad, but that seems to be pretty much the gist of how things work, in my opinion.

So, thats kind of what my “symbol” is about. Now I use it as my “signature” for my paintings.

I don’t like it when artists sign their paintings on the bottom right corner of their work. It’s been done for thousands of years, so I suppose it’s like some kind of tradition. Anyways, I don’t like to sign my paintings like that, so it’s pretty obvious, but all my paintings have my “new asterisk” signature on them somewhere, some more obviously than others. For my “Diaspora” series, they painting itself is just of my signature.

These paintings of “shells” of  asterisks, when hung up in a space, announce that that particular space is special, not because of what happened in there or whatever meaning that place may have, but because on a purely superficial level, it contains a “new asterisk”, and is therefore signfied as a special space.

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2009 Casper Kang

“EVA UNIT 01″ 4/6 SOLD

45 X 63 CM

6 PIECES

ACRYLIC & SCREEN INK ON CANVAS

2009 CASPER KANG

0010_eva-unit-01_6-pcs_45-x-63-cm-easmallEvangelion Unit 01 (Shogōki: 初号機)

Created in the Third Annex of Gehirn’s Artificial Evolution Laboratory in Hakone from 2003 to 2004 and deemed a functional Eva unit in 2014, Unit 01 is piloted by Shinji Ikari (with Rei or a Rei Dummy Plug as backup pilots), and has the best battle record of all the Evangelions. It frequently acts independently (the “berserker” mode), without the instructions of a pilot and without any apparent power source. The Eva will also take action to protect its pilot while sometimes servicing other interests. The Eva’s resident soul, Yui Ikari (Shinji’s mother), appears to be responsible for such events. Unit 01 is called the “Test Type,” perhaps because of the experimental way in which it was created: although Unit 01 seems to be an Adam-derived cybernetic organism like all other Evangelions, it is the sole Eva to have been born from Lilith.

Upon savagely disfiguring the fourteenth angel, Zeruel, it proceeded to devour the Angel and assimilated its S² Engine, making Unit 01 the first physically complete Evangelion prior to the construction of the Mass Production units. The S² Engine seems to be used only at Unit 01’s discretion; after acquiring it, the Eva is still sent into battle with an umbilical cable. Just before Unit 01 absorbed the S² Engine, it used one of Zeruel’s arms to regenerate its severed left arm, demonstrating the Angelic ability of regeneration. The Mass Production models were also equipped with Nerv-developed S² Engines but it is a common misconception that they also have the ability to regenerate (see entry below).

Unit 01’s armor is primarily purple; some components are colored neon green, light blue, orange, and black. The helmet, with its prominent horn and “frill,” is vaguely evocative of a ceratopsid dinosaur. The pectoral plates are different from those seen on any other Eva. The humanoid entity beneath the armor has light brown skin, two emerald-green eyes, four small nostrils positioned preorbitally, and red blood.

Above text from Wikipedia(http://en.wikipedia.org/wiki/Evangelion_(mecha)

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Evangelion was one of my favorite Japanese animation series, mostly for its interesting mashup of religious and psychoanalytical theories. In accordance with the “commercial” aspect of my “Asterisk” series, this series is a mostly meaningless expression of one of the giant mechanical organisms called Evangelion.

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2009 Casper Kang

“POCARI SWEAT” (금메달따고 포카리스웨트 마시다) 4/6 SOLD

45 X 63 CM EACH

6 PIECES

ACRYLIC & SCREEN INK ON CANVAS

2008 CASPER KANG

0018_pocari-sweat_6-pcs_45-x-63-cm-easmall2Pocari Sweat is one of my favorite drinks. It’s like the Gatorade of asia, except its name is really cool, and it’s can has very nice colors. In accordance with the “commercial” aspect of my “Asterisk” series, this series is a mostly meaningless expression of Pocari Sweat’s colors.

To explain the gold color, here is an accurate translation of the Korean title:

“Win a gold medal and drink Pocari Sweat”

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2009 Casper Kang

“DIASPORA I,II,III,IV,V” 3/5 SOLD

130 X 160 CM EACH

ACRYLIC & SCREEN INK ON CANVAS

2008 CASPER KANG

0019_diaspora-series_5-pcs_130-x-160-cm-eaThe term diaspora (in Greek, διασπορά – “a scattering [of seeds]“) refers to the movement of any population sharing common ethnic identity who were either forced to leave or voluntarily left their settled territory, and became residents in areas often far removed from the former. It is converse to the nomadic culture. Diasporic cultural development often assumes a different course from that of the population in the original place of settlement. It tends to vary in culture, traditions and other factors between remotely separated communities. The last vestige of cultural affiliation in a diaspora is often found in community resistance to language change and in maintenance of religious practice.

In all cases, the term diaspora carries a sense of displacement; that is, the population so described finds itself for whatever reason separated from its national territory; and usually it has a hope, or at least a desire, to return to their homeland at some point, if the “homeland” still exists in any meaningful sense. Some writers have noted that diaspora may result in a loss of nostalgia for a single home as people “re-root” in a series of meaningful displacements. In this sense, individuals may have multiple homes throughout their diaspora, with different reasons for maintaining some form of attachment to each.

Above text from Wikipedia (http://en.wikipedia.org/wiki/Diaspora)

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As a second-generation Korean-Canadian, I don’t really feel I can totally relate to either Canadian or Korean culture. By birth, I am Canadian, but my appearance says that I’m a foreigner over there. In Korea, I look like a native, but culturally, and in terms of language, I have limitations which label me as a “gyopo”(2nd generation), also as a foreigner. I love both countries, but either way, I’m a foreigner in both. I have nothing against each respective country for considering me as such. I think I can use that to my advantage, being an ‘outsider’ without a deeply rooted cultural background. Without a sense of cultural heritage, I feel that I can look at a culture more objectively, separating the good from the bad. Also, as an artist, I consider aesthetics as the most important factor. In that sense, I can observe a culture almost superficially, with significantly less sentimental or preconceived notions than an individual whom is more “cultured” to the respective culture, and “steal” or visual elements which in which I find value or personal expression.

There are alot of good things I see in both Korean and Canadian culture, and alot of bad things, too. I think people who have been immersed in a culture as rich and as historical as Korea’s, lose the ability (to some degree) to appreciate the good, and/or discern what is bad in their culture. For myself, I think not having a true sense of heritage allows me to look at Korea, and the rest of the world from a distance.

2세대 한국-캐나다 교포로서 나는 양 문화 모두에 거리를 느낀다. 태어남과 동시에 캐나다 국적을 획득했지만, 나의 외모는 그 곳에서 나를 이방인으로 규정한다. 서울에서 나는 한국사람과 외적으로 구분이 가지 않지만, 문화적으로 그리고 언어적으로 ‘교포’ 로 분류될 수 밖에 없는 한계를 가지고 있다. 양 문화권에서 모두 외국인인 것이다. 이런 점에 대하여 불만은 없다. 문화적 유산에 대한 ‘진정한’ 감각이 단절되었기 때문에 나는 내가 양 문화를 보다 더 객관적으로 관찰하기에 유리한 입장에 있다고 생각한다. 한국처럼 오래된 문화를 가진 나라에서 한국인으로서 태어나 살다보면 관습에 대한 장점,단점에 대한 판단력이 무감각해지기 쉬운 것 같다. 그와 반면에 문화적(캐나다의 짦은 역사상)으로 소외되었다고 느끼는 나는 한국(한국인)과 다른 세계에 대해 거리를 두고 바라보게 된다.

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2009 Casper Kang

“DIASPORA I”

130 X 160 CM

ACRYLIC & SCREEN INK ON CANVAS

2008 CASPER KANG

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2009 Casper Kang

“DIASPORA II”

130 X 160 CM

ACRYLIC & SCREEN INK ON CANVAS

2008 CASPER KANG

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2009 Casper Kang

“DIASPORA III” SOLD

130 X 160 CM

ACRYLIC & SCREEN INK ON CANVAS

2008 CASPER KANG

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2009 Casper Kang

“DIASPORA IV” SOLD

130 X 160 CM

ACRYLIC & SCREEN INK ON CANVAS

2008 CASPER KANG

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2009 Casper Kang

“DIASPORA V” SOLD

130 X 160 CM

ACRYLIC & SCREEN INK ON CANVAS

2008 CASPER KANG

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2009 Casper Kang

“RABBIT EATER 2″ SOLD

160 X 130 CM

ACRYLIC & SCREEN INK ON CANVAS

2008 CASPER KANG

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0102_rabbit-eater-ii_160-x-130-cm-detail22This is a portrait of my dog back home in Toronto. I wasn’t there at the time, but she caught a rabbit in our backyard and ate it. When I heard about that I just felt really happy for her, and proud. It’s not easy to catch a rabbit, and she did it at the age of 10, which isn’t young for a dog.

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2009 Casper Kang

“FERMENTATION OF FURY” (김치의분노)

130 X 160 CM

ACRYLIC & SCREEN INK ON CANVAS

2008 CASPER KANG

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Around the end of 2006 I saw my grandmother and some of her friends making 김치(kimchi). I remember being quite impressed by the whole setup, or composition (I mean not the procedure of making the kimchi but more in terms of how it looked in a mise en scene way) of them working away like that. My grandmother doesn’t like turning on her lights because she loves to conserve energy. . .I think its more to save money than for the environment. She has these windows that are pretty narrow but long(hornizontally) so there was dramatic lighting coming in from behind them, so they had this dark, lurking in the shadows look. Although I probably have seen someone making kimchi at some point in my life before, I was probably disinterested and saw it through my peripheral vision. This particular occasion was the first time i remember actually observing kimchi being made, and I realized it’s pretty physically demanding. So my grandmother and 2 of her friends and her ajum-ma were mixing up all the stuff in large plastic containers, with newspapers all over the floor to protect it from all the splattering. They themselves had quite a bit of kimchi “juice” on themselves, so at first I thought it was blood, and I also thought that it wasn’t kimchi but maybe they were cutting up some fresh meat.

I like kimchi, and it seems like alot of other people do, too. My favorite kimchi is the type that is sealed in small individual packages you can buy at convenience stores or supermarkets. I like things better that come in individual packages; its like the psychological comfort of me knowing it’s individually packaged makes it taste better. I’m not really into home-made kimchi, and I think the main reason is the inconsistency. As you may or may not know, Kimchi is a fermented food, so there could be any number of internal or external factors that could affect the outcome of the final edible product. There could be fluctuations in the temperature, or the container may not be letting out enough of the gases given off in the fermentation process. . .I know there’s special refrigerators now that control the temperature during fermentation, but still, it can’t beat a factory controlled by a large corporation producing batches of kimchi maybe a hundred times larger than someone could make at home. No, it can’t beat their consistency. I’ve had some kimchi that I thought tasted excellent at certain restaurants(which made the kimchi themselves), but then the next time I went there, they had a different batch of kimchi, which was still pretty OK, but was disappointing since I had come with expectations established from my prior visit. In that sense, I think if you were to try kimchi only once in your lifetime, home-made kimchi would be best. I remember one particular time when I had this crazy kimchi which had been fermented for 2 years, buried under the ground. This kimchi’s red was super duper deep; almost purple. If I could have kimchi only once in my lifetime, that would be it.

The thing I like most about kimchi is its color. Red is my favorite color, and kimchi can pretty much cover any shade of red. With white rice, of course, it looks fantastic.

Likewise, this painting was more about the aesthetics of making kimchi. I really got a violent impression when I saw my grandmother and her friends making kimchi. The vigorous mixing and the bright reds and dark reds and almost neon reds . . .yup, they had me seeing red.

Once again, the masked animal figure represents myself, as a second-generation Korean-Canadian conveniently disguised from Korean society, observing a part of my somewhat distant mother-culture.

The thing I hate about kimchi is that is has tiny shrimp that have been pre-fermented and then re-fermented in the kimchi making process. If you look closely into kimchi, you can see their black, beady eyes. 

Images may not be used without consent

2009 Casper Kang

“PHANTASMAGORIA II”

260 X 130 CM

ACRYLIC & SCREEN INK ON CANVAS

2008 CASPER KANG

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0118_phantasmagoria-ii_260-x-130-cm-detail8b3WHATEVER YOU SEE/FEEL

 THAT’S WHAT IT MEANS

Images may not be used without consent

2009 Casper Kang

“DOUBLE HAPPINESS” SOLD

116 X 90 CM

ACRYLIC & SCREEN INK ON CANVAS

2008 CASPER KANG

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If you have one ice cream, and you’re almost finished eating it, it seems like you can’t enjoy it to the last bit. Especially if you’re not really full and you’re thinking about the ice cream while you eat it, and you realize that its starting to disappear, and soon you’ll have no ice cream at all. If you have two ice creams, then you don’t get this problem, so it’s always good to buy two of one thing if you can, under the right circumstances.

“PEACH BANG”

130 x 160 CM

ACRYLIC & SCREEN INK ON CANVAS

2007 CASPER KANG

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0122_peach-bangebb0a9ebafb8ec97b0ecb488ec8381ed9994_130-x-160-cm-detail36 This portrait of then 24 year old artist Peach Bang is my observation on Korean society’s perception of the relationship and/or conflict between dreams (as in aspirations) and reality. While South Korea has advanced itself as one of the fastest growing economies after its IMF crisis, many of its values and customs seem stuck in the past, but mostly on the surface. This superficial set of mannerisms, customs, and values seems to defeat the purpose and meaning of the true values of Korean culture, although I consider myself far from fully understanding Korean culture as a second 2nd generation Korean-Canadian. Ultimately, I feel that the education system of Korea, in particular, along with most Korean parents’ attitudes towards a “proper future” negatively impact the direction of young peoples’ lives in Korea. I can hardly blame most of the parents’ attitudes, since they’ve been exposed to the strong social conditioning of Korea. Although circumstances for people to “follow their dreams” seem to be slowly improving, they remain unrelenting. 

The elephants escaping through a rip in the canvas (signifying the “world” or “society”) are being set free. . .The elephant was chosen based on the way that baby elephants (calves) are conditioned into captivity. While calves, the elephants are tied to trees by one of their legs to prevent them from escaping. Try as they might, they can’t get away. However, a fully grown elephant could easily snap the rope BUT they don’t, because they think they can’t. Since as far back as it remember, it could never break the rope, so as long as it has even a thin rope around its leg, and it is near a tree,  a captive elephants will not run away. This is my generalization of Korean society, and to some degree, world society. What really drives people to study so hard in school, get respectable jobs, buy fancy clothes, cars, houses, everything in between, and then I guess . . . when there’s nothing left to buy. . . Art? Diamonds? Art made of Diamonds? Yup, that’s where Damien Hirst comes in. Anyways, I’m saying people are conditioned not to follow their dreams.

OTHER THEMES: 

1. THE RESPECT FOOLS GET, THE DISRESPECT I GET

2. FLOWERS IN YOUR MIND

3. MULTIPLE LIMBS AS A CONVENTION OF ESSENTIAL STATE OF DIFFERENCE (IE. VISHNU)

4. LUNAR CYCLES/SOCIAL CYCLES

5. NATURE VS. TRICKNOLOGY

In conclusion, I painted this portrait of Ms. Peach Bang because I respect her. Why? for being G.O.O.D. (You too, Mr. West).

Images may not be used without consent

2009 Casper Kang

“PHANTASMAGORIA III”

JANUARY 9TH, 2009 – JANUARY 23RD, 2009

@DAILY PROJECTS

SEOUL

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 Serious discussion with Daily Projects Director Jung-hee.0011

 Images may not be used without consent

 2009 Casper Kang

“PHANTASMAGORIA III”

JANUARY 9TH, 2009 – JANUARY 23RD, 2009

@DAILY PROJECTS

SEOUL

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 선영 and her curious friend.

00132이민정, Korean actress. Yay celebrities came to my openingXD

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선영 and 병국형: above 5 photos courtesy of 임지윤

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 Left: SADI student, Right: Natalie Park0022 

 Above image courtesy of Natalie Park: www.cyworld.com/onefirstvirgin

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 Above image courtesy of Christine Lim. Thanks!

“PHANTASMAGORIA III”

JANUARY 9TH, 2009 – JANUARY 23RD, 2009

@DAILY PROJECTS

SEOUL

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003000311 Sincere thanks to everyone who came

 Images may not be used without consent

 2009 Casper Kang

 “PHANTASMAGORIA III”

JANUARY 9TH, 2009 – JANUARY 23RD, 2009

@DAILY PROJECTS

SEOUL

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Images may not be used without consent

2009 Casper Kang

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TESTING, TESTING, 1, 2, 3.

Photograph by my sister La H Kang

I miss u.