ABOUT THE ARTIST
Born in Seoul, South Korea, Paik studied drawing and painting with leading figurative American painters Sidney Goodman and Will Barnet at the Pennsylvania Academy of Fine Arts in Philadelphia. Paik won numerous prestigious prizes including the highly coveted William Cresson Prize, Benjamin West Prize, Cecilia Beaux Prize, Thomas Eakins Prize among others and exhibited in numerous juried and invited group and solo exhibitions in New Orleans, New York, Delaware and Philadelphia before her subsequent move to London in 1997.
In 1999, Paik began her London painting life with a solo exhibition represented by Fine Art Commissions on Cork Street. In 2003 Paik won first prize in the Garrick/Milne Prize, a national painting competition in UK, whose jury members included both the previous Surveyor and the present Surveyor to the Queen’s Pictures. Along with further solo exhibitions and many group shows over the years Paik’s works have been shown at: the National Portrait Gallery; Aberdeen Art Gallery; Mall Galleries with New English Art Club and Royal Society of Portrait Painters; Wolseley Gallery at London Art Fair; Russell Gallery; Christie’s London; and Galerie Mokum, Amsterdam. Paik’s paintings are collected in USA, South Korea, Hong Kong, France, Netherlands and UK.
In pursuit of paintings of depth and timelessness, always experimenting, Paik works to capture the lasting power of life with personal symbolism.
“… this new series of paintings of Korean pots absolutely amazed me. They ring with silence. There is a timeless quality to them which forces the viewer to leave behind the reference points of daily life and enter another world, another zone.
… it’s partly because the aura of mystery behind the objects depicted is by definition unresolved: a pot is made to contain something, we think, and these paintings (unlike Vermeer’s milk jug or Cezanne’s tumbling fruit bowl) celebrate the self-sufficiency of an empty vessel. Neither a stag’s head nor the needling embroidery of a tablecloth distracts us from the sacred spheres.
… And their emptiness is not a void but a symbol: if we approach any work of art with that emptiness which suggests receptivity and space we are more likely to be filled and fulfilled”.
Stephen Hough, Daily Telegraph, London