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ÀÒ¾î¹ö¸° ²Þ¿¡ ´ëÇÑ ´Ü»ó-Á¶¹Ì¿µÀÇ[ÙíïñÕ°] _ ±è»óö(°øÆò¾ÆÆ®¼¾ÅÍ °üÀå) |
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ÀÒ¾î¹ö¸° ²Þ¿¡ ´ëÇÑ ´Ü»ó-Á¶¹Ì¿µÀÇ[ÙíïñÕ°]
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'Peeping at Lost Dreams'
The Unfertilized Egg of Mi-young Cho
The Korean painting has sought an exit from the static situation at present but it has not found a tint of hope. Therefore, for younger artists who have to struggle against this dark and uncertain situation, tradition is karma and modernity is a kind of problem to solve. Burdened with the unfinished project handed down by older artists, they have
tried to find a solution that meets the needs of time. So it is noticeable that young artists are the mirror reflecting the reality and the cornerstone for the future.
Mi-young Cho is one of the typical young artists both in career and age. Her recent object was the city landscape painted in Chinese ink, the essential, traditional material of Oriental paintings. The usage of this traditional material was linked with the accumulated spirit of Chinese ink, that is, the tradition of the Korean painting. In choosing city landscapes, however, she shared the common characteristic of young artists; choosing objects as a self-expression. Young artists tend to express their inner selves through new visual forms not through the blank space or brush strokes of the old paintings. Cho visualized the city landscape as a form and adapted Chinese ink only as an instrument. Though she built her own peculiarity with rough, short brush lines and partly-used ink blots in the painting of the city landscape, her works could be said to belong to the transitional stage whose traits can be easily found in works of contemporary young artists.
Now she indulges herself in eggs. The new series of works under title of The Unfertilized Egg displayed in her first personal exhibition marks a turning point in meaning and form. The egg is something incomplete, full of possibilities, and something fragile and unstable as well. It can also be interpreted as a transitional step for completion. She realizes that in the consumer's society, our life faces the crisis of being
displayed and sold. We live in a city, afraid of being wasted unhatched.
Based on this existential idea, her works represent the relation between one person and his or her society through the form of eggs. However, the relation is still hopeless as seen in the title The Unfertilized Egg. The unfertilized egg suggests the despair that the egg cannot be hatched for ever though it has a latent possibility of life and the fear that one day it might turn into a side dish for dinner, the fear of an uncertain everyday life. It also contains the human life that one person can be sacrificed to the society helplessly and powerlessly.
If she pushes this kind of work to the extreme, it will be nothing but decadent romanticism. I am concerned about an finished conclusion about life and its meaning.
Fortunately, she says, 'We are within ourselves like eggs on the top of a carton. Nevertheless, they have a precious dream that they hope to hold and they believe they hold; an unerasable mind.' She lays open the value of life and the possibility to be reborn. She searches the absolute truth that cannot be given up in the fertilized egg which looks hopeless. Eggs should be hatched or broken free. Therefore, her new works are not the end but the beginning.
The series of The Unfertilized Egg, which shows her full understanding of the emotional stability of natural dyes and the spirit of Chinese ink, is not only a personal view on life and society, but also a representative work for contemporary artists who feel desperate, empty and powerless in this society. Let's hope that eggs can be broken free.
Sang-Chul Kim (Director of the Gong-pyung Art Center)
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Date : 2010-11-17 21:26:15
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