Yang Dae Won 

 Yang's work is easily remembered by audiences due to his trade mark brand― character with distinctive facial features. The Round Person, called Dongulin, is the vehicle used to deliver the message of 'anger' vis-à-vis a camouflaged gesture. His three main subjects are anger, camouflage, and self-sufficiency; however, the man with a mask seems to conflict with Yang's nature as it tries to achieve self-sufficiency. The prominent appearance of the Dongulin character in Yang's work has inadvertently caused observers to interpret a mixed or diffused message from his work. Among his three preferred themes, Yang's obsession towards self-sufficiency takes priority over the other two. To understand his obsession towards self-sufficiency, let's take a closer look at the foundation of the painting: the canvas. Yang's canvas is traditional Korean paper or fabric which he manufactures himself through his very own production process. Each work starts with this textured and soil-colored surface, created by washing the material with muddy water which results an embossed surface when dry. These canvases emphasizes texture rather than volume or density. The murky solid color is applied to the canvas as if it were some kind of graphic design. Because of its soil-colored texture, however, it separates itself from the actual work. Yang's canvases with modified shapes include circles that are reminiscent of Mondrian's paintings with their self-sufficient style and repeating basic elements of shapes and grids. The concepts Yang brings to life in his works bring us closer to understanding his obsession. 

​

​