Art Review: Exhibition <atural and untouched new Sehando> 20200920- Choi Chul-joo's Art Review.
utopia-65.1x100cm oil on canvas 2020
atural and untouched new Sehando
new Sehando, collects the effect of the language spoken by the letter on the world, making it one and forming the object from that effect. The subject of the lake's Utopia, which is not an carved object, is urbanized, and the object of Sejong's light is her .
Myosoo Kang's painting<無爲自然>, which seems to be transformed into an object that does not add artificiality to the sublime nature. Art review: atural and untouched
collects the effect of the language spoken by the letter on the world, making it one and forming the object from that effect. The subject of the lake's Utopia, which is not an carved object, is urbanized, and the object of Sejong's light is her .
Myosoo Kang's painting<無爲自然>, which seems to be transformed into an object that does not add artificiality to the sublime nature.
無爲自然(the moonlight), 116.8x91.0.cm, China ink, Ashes, acrylic, 2017
<無爲自然>, it is a perception that captures the real form and always marks the object with unchanged rules.
Therefore, <無爲自然> looks at the object by one, but it stay in the way they see that the object is changed into a relationship with others. This is a perception that captures the actual shape and always marks the target with unchanging rules.
She recognizes the situation in which the object is embedded in the tree as a natural change and observes the appearance of back in its original form.
Therefore, Myosoo Kang makes the original shape of the object look outward and makes people realize the original shape, so that they can pay attention to the original shape.
Here she targets an object as an original being and draws it where it can be a object of form.
Her places a pine instead of the light that forms its existence on an image that replaces a flat, narrow, long existence, and equates the real with the shape of a pine to the empty place where marks its existence.
Her painting depicts the effect of light, consisting of ink jokes and paint.
nostalgic, 60.6x72.7cm, China ink, Ashes, Oil on Canvas, 2015
By giving the joke an existential sensitivity, sets the position of the tree as shown in the empty space and overlaps it in the empty space of the branches with the blue color reflected in the white snow as a result of the light and cloud effect of the paint.
It converts the image that it has become subject to the reversible form of light into the symbolic image of existence. And Myosoo Kang highlights the existence of the and visualizes the as an ideological image, not limited to perspective.
She converts the image she has become the subject from the reversible shape of light to the symbolic image of existence.
In this transition, the effect of connecting reversible light to the target is seen as a combination of the reversible light retention and the object in a single shape without any deviation, but its meaning is not appearanced.
As such, she transforms a treacherous society into another symbolic place, imitating the absurdity of as an unrealistic being. It is a double representation of the social form and existence of the past as a private one, a shape formed from the perspective of reversible light of existence. This is , which contrasted the red light that exists as an apparent image of the subject from the private perspective with the boundaries of the object's sublime.
Here, the boundaries between space and the object are overlaid schematic, but her prevents the exposure of the boundary as the color of light by the plane of the object and space.
Therefore, the focus is on the planarity of the space that does not touch the original form of the as another space from the reproducible perspective of the space.
The Artist: Myo-soo Kang
However, images with planeity show moments of time and shape in perspective but do not exist.
Thus she realises planeity as a contrast of illusion images to nature's expression by embellishing her irreplaceable existence in real life with invisible light and giving it light and shade.
, who accepts aesthetic shapes that equate real with naturalness without human contact, observes the existence of phenomena in an objective form.
And so that the subject can appear as an illusion image, her paintings try to destroy the image of the object that can be returned to the object of perspective and portray the existence of the object.
The way she paints the subject of existence is to reveal a natural untouched object that has disappeared.
She appears in , which defensively hides her own existence and replaces the subject of the other.
Distinguishing the natural space by the horizontal lines of the vertical trees and lake faces, she removes the depth of the concreteness.
It also forms a scholar's hard winter by forming a subject and adapting a picture of the affection of his teacher and pupil in the shadowy border of light
Then she combined the natural meaning with other images, which elicits a natural image that does not change more than light-protected phenomena.
At that point, the image of a desire protected by light that can return to the intangible image that does not change beyond the phenomenon is linked to her subject meaning.
is a work that depicts respect for student in the bitter cold, and contains the writer's intention at that time. Her drawing without adding anything is an act of work that explores the unconscious changing prototype in a universal phenomenon.
This is a metaphorical figure she acquired from the act of consciousness as a process of publicly showing the writing and painting hidden in the unconsciousness of the other herself. She analyzes as an abstract letter describing an indescribable intention using action painting where reversible light is divided into perception.
Her action painting as a performance is a significant as a temporal nature.
As a result, Myosoo Kang's paintings gain aesthetic value by using the original as the main subject and using the metaphorical identity of the painting.
She draws the object's self-reliance position as a substance and opens the virtual shape of the non-existing material that has disappeared there, and hides the fact that the self-reliance figure that the other cannot virtualize has been structured around the realm of the virtual subject.
And the subject of an invisible unconscious shape within the realm of that figure constitutes another anomalous position of the temporal character in the meaning of the feature.
Writing. Minoo media Art Museum, Academic and Arts Research Director; Choi Chul-joo (Art Critic)
New Sehando, 162.2x130.3cm, Chinese ink, Acrylic, on canvas, 2020
new Sehando, collects the effect of the language spoken by the letter on the world, making it one and forming the object from that effect.
new Sehando, as an abstract letter describing an indescribable intention using action painting where reversible light is divided into perception.
Her action painting as a performance is a significant new Sehando as a temporal nature.
As a result, Myosoo Kang's paintings gain aesthetic value by using the original as the main subject and using the metaphorical identity of the painting.
and hides the fact that the self-reliance figure that the other cannot virtualize has been structured around the realm of the virtual subject.