Lee, Kyoung Hee
Recent Discourse of artworks
ÀÛÇ°·Ð / '´Þ¿¡ ´ëÇÑ »ý°¢'
On the analogy of 'Memory of the Moon'
120X1
120X180cm, Mixed media on lenan
ÀÛÇ°·Ð / On
the analogy of memory of the moon
From
a universal humanities psychology point of view, attitudes and habits expressed
from human self-consciousness also completely dominate the creative soul for
self-realization to artists. In a positive way, it is the source of mental
energy that creates good energy that leads to the formation process and
creative way of life, while in creative thought, that irrecoverability is also
a great trauma of mental chaos. Therefore, the cognitive ability of the
attitude and habit of creating works acts as a basic element of mental passion
that is very important to the artist.
Recently, Lee, Kyung-hee's concept of work has changed significantly visually.
In particular, the period she indulged in so-called concrete paintings that she
had drawn on canvas or paper with a brush was quite long. Nevertheless, through
such self-denial in the early 60s, there is a big change in perception of the
attitude of boldly giving up the framework of the formative sense based on the
authentic painting style. It is the fact that it awakens from the simple
classical aesthetics of compulsion to draw something on the canvas and shows
the result of evolving new intuition and thoughts into a conceptual form as a
liberation zone that contemporary people long for from their true persona. This
is a short of tantamount to a bold abandonment of the materialistic thinking of
modernism, which has long been obsessed and worshipped in her aesthetic
consciousness.
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»õ·Î¿î ÁöÆòÀ¸·Î ÃâÇöÇÏ´Â ¿¡ÇÇÆÄ´Ï(Epiphany)ÀÇ Á÷°üÀ» »ó»óÀ̶õ µÎ³ú·ÎºÎÅÍ ¹è¼³ÇÏ°í ÀÖ´Â °ÍÀÌ´Ù.
In the Gilles Deleuze philosophy, the concept of Nomadism
territorial expansion for the playful changes in experimental thoughts arising
from the infinite number of thoughts is an instinctive act that starts from the
survival spontaneity of mankind through reasons that transcend the existing
domain. The flow of art history based on the principle of survival
is also due to the longing for human thinking from primitive thinking to modern
times. Her formative intuition is very outstanding in her artwork. Nevertheless,
philosopher, ¡®Michel Foucault¡¯ say, "Intuition without reason is fiction
and meaningless if there is no concept of intuition." In her case, she
conclusively denies the source of customs inherent in her work about the
general empirical theory and reflection naturally obtained in her decades of
artist life, and now excretes Epiphany's intuition from her brain, which
emerges as a new horizon in her deep ego.
±×³àÀÇ ÀÛÇ° ¸íÁ¦ÀÎ ¡®Memory of the moon¡¯-¡¯´Þ¿¡ ´ëÇÑ ±â¾ï, ´Þ Ç׾Ƹ®¡¯´Â ´Ü¼øÇÑ ¼Á¤(ßñï×)ÀÇ
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Her proposition, ¡®Memory
of the Moon¡¯ - Thoughts on the Moon, Moon Jar, is not just a lyric, but
rather a humanities and philosophical meaning. Often, we borrow a childlike
pure dream-like concentric world for a while, but her moon has paradoxical
implications that accompany the concept of thought as its own pictorial
narrative. This is not a longing for the pure meaning of toward the unknown world
thrown at the viewer, but a mass of her aesthetic consciousness and a fragment
of thought. In particular, Linen, which she uses to produce her work, is a
product of sweat and passion combined with labor through aging for a
considerable amount of time by mixing glue with water, enhancing and making his
work even greater. Observing in this process, it is not an act of drawing, but
a unique act of contemplation that formatively harmonizes her consciousness
with basic materials and emotional colors and feeling of tension its canvas. It
seems to be a profound process that seems to sequentially pour the mature
aesthetics inherent in her hands into the work from a cult form such as a kind
of sacred ritual to nature. Each thread of hemp cloth naturally overlaps,
clumps, and strangely condenses, dissolving the tension with physical
properties through a series of phenomenal interactions. And as they are combined
with the plane called canvas again, they are holding a feast of unconscious and
simultaneous transcendental space. Her unique experimental ritual-like silence and quiet gaze
are soon revealed in the shape of the circle and moon, and at the same time,
the imaginary journey to the moon transcending time and space begins gradually,
attracting many people¡¯s emotional views like an implied drama.
In the end, the narrative of the moon,
the final destination of the formativeity she aims for, overwhelms the dense
gaze of the people as a result of the work. The artist's hidden intention
projects not only his senses but also the flow of consciousness into the work,
and also, deep thoughts resulting from it penetrate the ultimate aesthetic's
dual work trajectory. Looking at it from the
perspective of cosmology, it is a methodology of consciousness that naturally
attracts and attempts to empathize with the vision of the viewer into the
mystery of the planet called the moon and the virtual reality of surreal
imagination. Sometimes it is
contained in the shape of a jar, and sometimes it is a three-dimensional
circular organism that contains the aesthetic consciousness she sees. However, the concept of "difference" seems to be
more necessary in terms of visual aspects with many artists who frequently
borrowed only simple forms as a signature called a moon jar.
Memory of the Moon, Acrylic ,Linen on canvas
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