Category: Drawing

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Digital Painting: DMZ Railroad

Designed to minimize the footprint without losing the solidity to take the excessive load of the high-speed trains, the gilded railroad bridge follows the sober contour of the previous proposal (the memorial). As a part of the project DMZ, the image takes the similar configuration. Picturesque mountains lead the visual composition; the bridge of the traditional exposure comes to the center where the seasonal hue of the background disappears. 

©J-W.HWANG

As an immature aspiration, the proposal includes the future. In the middle of the waves of brush strokes, uncovering the transition from the achromatic distant view to the delightful close front, as from the forbidden area to the lively land and as from the past of the DMZ to the future, the railroad bridge presents an irregular layout to create a silent hopefulness.

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Digital Painting: DMZ Memorial

Peacefully mist-shrouded, the mountains draw boundaries to the both sides; the tension merges into the innocent landscape. The DMZ (Demilitarized Zone) of the Korean Peninsula was born from the war that never ends, leaving its nature as it was. Reunion or recurrence, while its future is unpredictable, the proposal for a memorial focuses on the message of the history.

©J-W.HWANG

The memorial is simply a thick and tall gilded wall shaped in solemn language, including a narrow passage and temporary use as an exhibition area. However, the leading actor of the image is the environment which is fairly pictorial, instead of the memorial that is materialized in strictly conventional expression. The composition emphasizes the contrast between the nature and the artificial, creating an emotional torsion by reminding the uninhabitable land and the human fault.

A simple painting could call an unexpected feeling when its covered message appears through that kind of antithesis. The image of the memorial exposes a narrative, not to celebrate or encourage, but to remember and transfer the message from the harsh reality; that’s the potential of the image and the power of the suggestion.

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Re·World

You may remember that Apple™’s products of the ‘90s are often dealt as forbidden; the e·World™ (don’t forget the middle dot) is one of them. The e·World™ internet service had endured just 2 years and disappeared over 20 years ago, but I loved the hello screen with sweetly illustrated buildings symbolizing the featured services, such as e-mail, community and marketplace. Inspired by the graphic design of that dot era, I have tried to recreate that ambience within simplified drawings. Mostly used for the presentation, these small icons are handy to characterize the projects.

©J-W.HWANG
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Lumières d’impression

L’illumination imaginée de la façade du bâtiment des Archives départementales du Rhône (actuellement MADE iN Saint-Marie Lyon) après le projet pédagogique pour la Fête des Lumières de Lyon, l’une des plus grandes manifestations populaires de la ville

L’image qu’on voit n’est qu’un mélange des reflets de lumière. Il y apparaît donc la différence entre avant et après la lumière ; cette illusion temporelle produit la visibilité sur la forme et la couleur. 

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Couleurs impressives

Le bâtiment est peint en blanc. Qu’est-ce qu’une couleur blanche ? On sait ce que c’est, mais personne ne peut la voir ; elle n’existe pas en réalité. En effet, le blanc qu’on voit n’est qu’une impression ignorant la réalité.

Chapelle Notre-Dame-du-Haut de Ronchamp, en crayons de couleur sur papier aquarel

Je suis sorti de la chapelle et descendu pour prendre la voiture. Plus loin, je ne vois plus le bâtiment ; le paysage l’absorbe comme une petite tache blanche sur un énorme canevas. 

Il pleuvait.

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