Interview with Gloria Keh — Contemporary Art Curator Magazine

Pathways Ink on canvas 122 x 152 cm 2024

Gloria Keh, 72, began painting since childhood. Her late father, Martin Fu, an oil painter, was her first art teacher.

Won over 25 international art awards with 14 solo shows held in Vienna (Austria), South Korea, Taiwan, the Philippines, Colombia and Singapore. Participated in over 200 exhibitions, including Art Expo New York, Shanghai Art Fair, Affordable Art Fairs in Hong Kong and Singapore, Art Basel Red Dot Miami, Contemporary London, Paris Art Fair 2021 & 2022, Tokyo International Art Fair 2021, several biennales in Italy and at the MEAM Barcelona.

In your recent solo exhibition in South Korea featuring black paintings, what philosophical or emotional currents were you exploring through the choice of such a stark, singular color palette?

I have always loved black, eventhough black is not a popular color for art in my part of the world. Traditionally, most Asians avoid black when it comes to decorating a home, or displaying black artworks on home walls. The color is associated with death and bad luck.

I was advised by many that black paintings will not sell. Generally, people still want pretty pictures. Feel good stuff. Flowers, tranquil landscapes, majestic horses, powerful tigers, puppy dogs, cats, the beautiful mother and child portraits.

But I am 72 and at this point of my life, I paint what I want, when I want. Thankfully, I do not paint to eat.

I eat to paint.

To me, black is mysterious, beguiling, alluring, tempting, downright sexy.

To me, black is all colors. It is a great supporting color as it complements other colors, be they single hues or a combination of colors, tones and shades.

Many find the starkness of black confronting, overwhelming. Black flirts with our inner demons, it addresses our fears. But I see this as a challenge - an invitation to delve deep into one’s soul. Black provides a journey into one’s self.

The black taboo must be broken.

By embracing black we enter into a different realm that transcends the rollercoaster rides our emotions take in the course of each day. Black may confront but it also uncovers.

The lotus is a powerful symbol in many cultures, often associated with purity and spiritual awakening. How do you interpret and infuse these traditional meanings in your lotus paintings showcased in Colombia?

The lotus is my favourite flower.

It was way before I knew about its symbolism. Every year, i paint lotuses. Sometimes, I tell myself: enough of flowers! But inevitably, something within me compells me to paint a lotus.

My artworks are my painted prayers.

My meditations on canvas and paper.

I am not a religious person, but hopefully a spiritual one. The lotus teaches me lots of things. The way it grows out of muddy murky waters, only to open its petals and burst into full bloom in the presence of light.

This reminds me of my own journey.

My own path towards achieving a higher consciousness. The lotus is a universal symbol of peace. And teaches me that this peace starts with me. As an individual, one cannot do much to achieve world peace. But what one can do is to first of all practise the art of peace in one’s own family, in one’s workplace, community. This peace begins with the individual, me. It begins with inner peace. Without this inner peace, there is no hope for peace on a global level. The lotus teaches me detachment. The way its leaves are in water and yet never wet.

As an artist, detachment is paramount.

Often things do not pan out the way we’d like. Without detachment, there will only be disappointments leading to depression.

The gallerist/curator in Colombia invited me to hold a solo. I gave him a choice of a theme: lotuses or collages. Two of my favourites. He knows his market, his audience better than I ever would. Lotuses were his choice. And thats super, to be able to showcase a variety of my lotuses painted through the course of several years.

What unique challenges did you face while creating your series of black paintings compared to the vibrant lotus series? How did these challenges influence your creative process and the final outcomes of the artworks?

The lotus artworks were painted over a period of several years. The works are not heavily textured. Compared to my black artworks, the lotuses are pretty. I always sell my lotus paintings. It is difficult to sell the black artworks. People say nice words, but are not keen to buy.

I only sell my artworks to raise money for charities. I have not earned a penny from all the sales of my artworks since 2008. Every year, I am invited to participate in charity auctions, and the charities want bright pretty pictures. My lotus paintings meet this need. My black artworks provide the answers to my soul’s purpose.

Challenge wise: the black paintings for my solo in South Korea were big. They were painted in 2023 and early 2024.

Costs involved were high; logistics in forwarding the 20 works, mostly big, were extensive - crateing, packaging. Most of the black solo works were heavily textured, that affected forwarding, calling for special packaging etc.

The 10 works exhibited in Colombia are prints. Only a We Transfer of 10 files was needed. Less costly, less time spent in the process.

How have audiences in South Korea and Colombia responded differently to your exhibitions? What insights did you gain about cultural perceptions of art based on these responses?

From what I understand both solos in opposite parts of the world, were well received. The themes for both solos are miles apart. The power of confronting black artworks vs a collection of pictures pleasing to the eye.

Yet, both collections address the soul - but take different approaches. One was ‘a no nonsense lets get to the core of things’ presentation; whilst the other was a stroll through a garden, gentle, soft. One overwhelmed, the other exuded calming beauty.

How have your artistic techniques and thematic focuses evolved over the years, especially visible through the contrast between your early and more recent works like the black and lotus paintings?

I have always preferred to paint in the abstract. My late father, who was an oil painter and my first art teacher, also encouraged me to express freely, and to try to see beyond form.

In early years, my work was more restrained. I played by the rules. I made pretty pictures that people would buy. That worked for a few years, but there always was this underlying dissatisfaction. It was as if something was missing. Yet I could not put my finger on what.

There was also the early insecurity of being accepted by the art community. One had to play ball.

Things began to change around the year 2000. Three deaths in my immediate family in three consecutive years, my first stoke, and other sad events forced me do some deep soul searching. Tired of living the dark nights of the soul, I courted the emotional fears that tormented me. Then meeting the Dalai Lama in 2002, brought an incredible change to my life.

Whilst many hold taboos against black, I befriended the darkness of black. And thus began the passion, the need to paint in black.

Lotuses, on the other hand, are my reminders, of my spiritual unfoldment.

In painting lotuses, I aim to honor spirit.

Traveling frequently for your exhibitions, how do the places and cultures you encounter influence your artistic vision and execution, particularly in these two distinct series?

I have participated in over 200 international exhibitions. I used to attend the ones in my home country, Singapore. But I have never attended any of my solos overseas. My solos have always been well organised and documented by the art museums in South Korea as well as by galleries in other countries.

I have worked with the South Korean art museums for many years, and am honored to be invited by them to showcase my works. I have been to South Korea five times - to Seoul and Busan. The country has alot to offer the visitor by way of their interesting culture. Love their art materials - traditional hanji paper, muk inks.

Never been to Colombia, but have exhibited many years ago with another Colombian gallery. However, have worked alot with Praxis Art through their online magazine, exhibitions. As well as participated in their annual charity events. For this offline solo, excellent prints of my lotus artworks were made and exhibited. It is my wish that after the two month solo exhibition, the prints of my work be donated to charities, community halls, libraries, schools.

Happily, the gallery has agreed to assist in these donations in kind.

I feel that this will add to the meaning and purpose of holding the solo: to share my art even after the exhibition period.

Much of your work is intertwined with charitable causes. How do you integrate your activism with your artistry in the themes of your black and lotus paintings, and what impact do you hope to achieve through this synergy?

to the Haegeumgang Theme Museum. This is to support the arts as well as leave some form of legacy. This might not be charity in the usual sense, but it is about sharing and continuity. Also, the museum is still at work with my black paintings solo, as it is a Travelling Solo. A total of three exhibitions have been scheduled: two at the Yukyung Art Museum and the Daesan Art Museum have been staged. The third in this travelling solo series is forthcoming.

Working on solo exhibitions can be intensely personal and isolating compared to collaborative projects. Can you compare these experiences—what do solo projects offer you that collaborations do not, and vice versa?

As I age, I prefer to detach myself from many things. And also from most people. Being with people often proves unnecessary, a waste of time, and often just plain draining.

Solitude is my friend.

Silence is a balm for me.

I spend most of my days alone.

I find comfort and healing working alone.

When I say alone, I am alone by choice. But I am never lonely.

Art begets art.

Art keeps me super busy.

Making art inspires the creation to make even more art.

I am my own master.

I have my own agenda.

At 72, enough is enough.

Nothing to prove to any living being anymore.

I only need to challenge myself.

I am the captain of my ship.

Sail or sink, it is MY ship.

Having explored intense themes and colors in your recent exhibitions, what new themes or techniques are you looking to explore in your future works? How do you foresee your artistic journey evolving in the next years.

It has been a very challenging time for me. Solos take time, money and energy. I am now doing smaller projects - working on my online books, writing poetry, making mailart and miniature artworks like ATCs.

As of September 2024, all i can say is I want to cut down on social media engagements. With time, in time, and when the time is right, I know all will be revealed. Just thankful to be able to HASTEN SLOWLY.

https://www.gloriakeh.com