The bush-like figure, which appears to be a bizarre type of plant, is a technical trace of Seo Hong-seok's free expression and thought that emerged from the continuity of thousands of drawing processes.

Through many humanities reading, he attempts to collapse colors that deviate from the general perspective by expressing the polar sensibility of pain and joy between the top and the abnormality based on philosophical appeal or the difference and extension of the binary opposition propositions called "Jack Deriga" (差延). Goethe's theory of color tracks the phenomenology of unrealistic visual ambiguity such as the interaction between light and darkness.

This is an act of session into the emotional and thinking world dominated by the artist, longing to escape from the original desire (Libido) of deeply latent deficiency in the aesthetic world of the artist, and experimenting with the aesthetics of Madness and 疎 in a unique and sophisticated way to reproduce true alienation and 我 between the spaces of unconsciousness. 

서양화를 전공한 작가의 풍경화는 동양의 산수화와 닮았다. 사실과 추상, 과학과 영, 물질과 정신, 몸과 마음 등 이분법적 사고를 넘어 형이ㅁ상학의 입장에서 자연을 인간화, 다시 인간을 자연화한다면 작품의 내용에 가까워진다. 인간의 지배를 받는 자연을 서 양의 풍경이라 한다면 야생의 자연을 우리는 풍경이라 할 수 있다. 자연은 인간에게 삶 의 터전을 주었고, 근원이 되었고, 각자의 의미를 지닌 예술의 표현 대상이 되었다. 그 래서 그 가치를 담고 있는 동양의 풍경화는 도가의 자연관까지 거슬러 올라간다. 작품 의 제목마저 정령(精靈)이다. 영은 우리가 증명할 수 없는 기운이다. 그들만의 기운이 있다. 나무, 숲이라는 물질적인 공간이 아니라 정신적인 차원에서의 자기 환원을 의미 하는 것이다. 자연이 ‘자연스럽다’에서 나왔듯, 외부의 간섭이나 압력이 아닌 자발적으로 이루어진 현상이기에, 숲 작품은 우리가 인식되어 온 자연이라는 세계관을 지각하고 재현하는 방식과는 다른 결과로 다가온다. 그림은 아래에서 위로 자연스럽게 시선이 옮겨진다. 아래쪽 나뭇잎의 큰 붓 터치를 시 작으로 위로 올라가면 갈수록 겹겹이 쌓인 나뭇잎 뭉치가 아지랑이가 일 듯 아련하고 비가 떨어지듯 수직 하향을 한다. 나뭇잎들 사이의 색칠이 없는 특정 부분은 황모 캔버스의 거친 질감에도 불구하고 동양화의 여백처럼 남겨져 있다. 숲은 숲으로 보이지 않 고 자신들의 삶의 영위를 위해 만든 군락이 되었다. 

Artist’s Note

Whenever I encounter the stillness of nature and the reverberation of that sacred silence, I see and hear numerous stories of life waking up and continuing to rest again. I take a natural awe from this dynamic of the great cycle. Methods of recalling nature vary depending on individual experiences and memories. A place where time, emotions, and memories were created and accumulated if we accept the community consciousneㅁss, coexistence, and space of coexistence that nature gives us. I calmly transfer the stories there to my canvas. I try to express infinite power and abundant energy in the mountains and seas, the gentle comfort and deep soul emotions felt in the forests and tidal flats, and the clear and lively energy given by the forsythia and azalea cluster, but sometimes a small sense of despair comes.

Why do you insist on working on the back of the canvas? I am frequently asked. This is due to the fact that the raw, raw, raw, raw, and rough fabrics that you cannot feel on the front of the canvas trimmed by surface treatment reveal the raw, raw life. As layers of paint are stacked on the rough-surface canvas, the clattering touches and sounds of knives and brush strokes always convey lively pleasure and tension. Put down the typical principles of shading and perspective appropriately. To make the screen flat and simple, the shape and color are controlled as much as possible. The infinite repetitive brush and knife strokes overcome the simplicity of the primary color and color it with deep density.