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  name   Á¶¹Ì¿µ
  title   ÀÌÀ½[i:um]_µå·¯³²°ú »ç¶óÁü, ±× »çÀÌ¿¡ Á¸ÀçÇÏ´Â °Íµé_±è°æ¼­(¹Ì¼úÆò·Ð°¡)

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µå·¯³²°ú »ç¶óÁü, ±× »çÀÌ¿¡ Á¸ÀçÇÏ´Â °Íµé
Exposure and Disappearance, Existent Things in Between



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¿ì¿¬È÷µµ, ¾î¼¸é ÇÊ¿¬À¸·Î¡¦.

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±è°æ¼­(¹Ì¼úÆò·Ð°¡)



Exposure and Disappearance, Existent Things in Between


The painting is full of space.
Space is empty.
Cannot say if there is anything there but
nothing is exposed either.
It is just open by itself.
By chance, or perhaps by fate...

The space is too delicate and is not touched.
A single feather flies towards this space.
The feather settles within a space or goes away.
Exposes and disappears as tenderly as the space.
Is it the space that allows the feather to exist?
Is it the feather that allows the space to exist?


Artist, Mi Young Cho is a painter of feathers. With fine touches, the painter paints a feather exquisitely, strand by strand. There is no abundant play with chinese ink or extravagant changes in line. It is painted as if there was a concern by the artist not to entangle the delicate strands of feathers or to let it fly away.
At that moment, the artist must have caught her breath.
Until these delicate things could find freedom in the painted space, the artist must have waited with bated breath. All these uncountable number of feathers that come out in the paintings are kept in a glass jar in the studio intact. Therefore, the artist's feathers are real. However, it is difficult to say whether the feathers in the jar or the feathers in the painting are in existence. Mi Young Cho's works start 'between' this peculiarity.


Mi Young Cho's paintings laid out are lonesome. It seems like it is full of fog or covered with cast shadows of dawn. It is not like anything is there but it is full of something. It is painted with thin chinese ink and dyes but there are spaces without any paints. This peculiarity, as if something is full and yet as if something is empty, is found in this case also. In that place, whether drawn or left blank, is existent open space in it's entirety. The artist appears to wish for the painting to reveal itself without actually painting anything. The feather that floats ever so lightly in this open space can be said to 'simultaneously exist' with space. Since the space is open, the feather can remain or go, and because the feather is there, the empty space becomes something real.


The tranquil works laid forth by the artist deeply approaches the essence of existence. In fact, it can be said that all works of art are a journey to reveal the hidden being. Yet, it is undeniable that the artist takes a more dire and essential approach. There is much distance from modern artists since these artists try to intentionally bring out those existent things in life or through diverse forms try to state the subjectivity of the artists. Definitely, all the things that appear in the artist's works are expressed through forms. The flowing lines of the delicate feather make up a perfect form. However, this delicate balance cannot be said to be intentionally expressed by the artist alone.


Before picking up the brush, the artist must have gazed at the empty canvas for a long time, waiting with patience until the space deeply revealed itself. At the same time, as elaborate as the number of strands, the gaze must have remained on the feather. Carefully exhaling a breath like a whisper, on the other side of the empty space, a feather flying up might be seen. And picking up the brush for the first strand of the first feather, the entire mind must have been composed and the breathing stopped. Because to think to bring elegant form or to be a symbol of life for example, 'the will of art' and it's intervention will drop the existence of both space and feathers to be lost. Ultimately, the artist's form can be said to originate from 'nature.' A meeting of a 'nature' that is self existent but not revealing, and 'nature' that is a form revealed when inhalation and exhalation overlap inside ourselves.


This writer wants to point out that the extremely careful and controlled brush technique of Mi Young Cho to the words 'ki-un saengdong' can be construed as a paradox. Matter of fact, this is not a paradox. When one talks about 'ki-un saengdong', one thinks about a flowing, nonstop, single dynamic stroke of the brush. 'Ki-un' is the flow of Ki(energy). 'Ki' is similar to the seeds of life that give existence to everything. It cannot be seen or touched and is just a hidden universal principal. If a nature cannot be found, it cannot be said to exist. This is called state of 'jeong', and remains in 'tranquility'. 'Li' must ride on 'ki' in order to reveal itself. In a 'jeong' state of 'ki', energy through respiration, and life's rhythm must be given in order for it to make itself move and become alive. This can be said to be 'kiun-saengdong.' And here is the reason why the extremely restrained brush lines, as if it is still but yet moving, and as if it is hidden but yet revealing, of Mi Young Cho's works allows this writer talk about 'kiun-saengdong'.


Artist Mi Young Cho, of course, does not only paint feathers. The image of eggs is a subject matter that comes up as much as feathers. The titles of exhibitions up to now have been called 'Unfertilized Eggs', 'Stone Blind Man', '[su:m]', 'One day wings', 'Wing' among others given by the artist. The title of this invitational exhibition is '[i:um]' Works of this exhibition that catch the eye and which is different from previous ones is the fact that the lines of the feathers are connected to form a specific form. 50 works of 'Feathers Arirang' series takes after the shape of a heart and it was drawn as if doing embroidery and with thoughts of women in need and poverty. The work 'Sungnyemun', 347cm in length, is a work that portrays uncertainty and meaninglessness of things that disappear and also winds of healing. In all these works, strands of feathers, that seem to fly away even with a small breath, are joined together to make up a form. Now, the artist wishes to unload the pessimistic and difficult thoughts and mind, and hopes to warmly embrace all the surrounding trifles even as light as a feather. One can witness the endless affection for all things not easily revealed but undoubtedly existent and alive.

Kyung Seo Kim(Art Critic)
Date : 2010-11-28 02:06:16     Hit : 1128   
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