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Symbolic Cosmic Echo / 16th Sooman Moon¡¯s Woonbo Art Museum ¡¤ Woonbo Culture Foundation Invitation Exhibit

Sunyoung Lee / Art Critic

On the very small round canvas, which is too small to hold the world but bigger than old things such as ceramic or a cigarette case, there is symbolic cosmos with the world compressed. Since artworks that express sounds or echoes originated from Emaile Bell are contained, the word ¡®compressed renaturation¡¯ can be appropriate. His works that has round structure integrate many things to one, but minute details are not neglected. The artist cautions himself against excessive concentration on minute details, so he sometimes makes the boundary blur. This omission might be Sooman Moon¡¯s way of containing the infinite in the finite. This exhibit mainly features ¡®Simulacre¡¯ and ¡®Fractal¡¯ series in addition to ¡®Cloud¡¯, ¡®Coherence¡¯, ¡®Bronze Mirror¡¯ and ¡®Gate of Time¡¯. In large round canvases of over 2 meter diameter, circles are arranged in other circles, showing a cosmos in another cosmos. Small cosmoses folded and put in another large circle like magic circle sympathize with each other and amplify meanings.

Nature and relics of cultural heritages that he is mostly inspired from are exquisite, and another original source is engineering meticulousness from his initial major. The master craftsman of this era is an artist and engineer, and in the modern arts with conceptualization progressed, the production process is a major element that enables uniqueness of artworks. His new workroom located at a corner of a factory near Seoul seems proper to be the cradle of artworks that destroy the artificial boundaries that divide art, nature, and handicrafts. His works copy the world including old relics and nature, so they are ¡®simulacre¡¯, and are related to ¡®fractal¡¯ in that the methods of copying harmonize the great universe and a miniature universe. The material ¡®mirror¡¯ is related to mechanism that a certain rule or law is infinitely repeated. Sound is spreading far through the medium of air. To the artist who is passing through ¡®door of time¡¯, the linear borders that were clear in precedent works look blur. Their edges are blur like ¡®clouds¡¯.

The reason that ¡®simulacre¡¯ whose definition is ¡®replica without original¡¯(Deleuze) becomes the title of main series is that the main series came from the reference of color, texture and patterns of old relics that he prefers such as white porcelain, celadon and grayish-blue-powdered celadon. Art historians might want to trace potters who started new history by applying historical norms whose start and end are connected like a line, but they just find out that few intact relics and fractures are made by unknown potters. However, there can be forms of each era, but they are not the creature of individuals¡¯ uniqueness either. The artist plays theme music through arrangement. The already existing forms and symbols are changed through arrangement. The new arrangement accomplishes not reproduction but creation. There seem a lot of places for the artist to interfere in most of the empty space created while patterns were moved to round canvases otherwise they might have been on the three-dimensional structure. The space will be wider and autonomy will be made out of reference objects.

Round canvases naturally embrace the process of ¡®Ewige Wieder-Kunft(eternal recurrence)¡¯ inherent in his work. The work [Simulacre(241804)] with small circles filling a big circle tells the infinity of recurrence process. Nature also recurs infinitely. Flowers that look dead bloom the next year. Butterflies recur. These plants and animals are situated between circles, and in and out of circles as entities that recur every year while participating in the great history of evolution. Of course, imaginary creatures such as dragons and phoenix are included. These imaginary creatures are not created from nothing, but are complex derived from existing animals. For example, the hog snout appearing as a pattern in his works is also the snout of a dragon. The objects that contain the nature and the process of nature during past periods remain as the aspect of religion like Buddhism(or spiritual system) that was intended to reach the order of nature. Some viewers might consider déjà vu to be bad. The artist makes the existing symbolic meanings not too prominent.

A symbol in his works is not returning to one but is having diversity. Just because a thing has appearance of ceramic, it is not necessarily limited in oriental thing. The layered structure that reminds of ¡®great chain of being¡¯, the western view of the world before modern era, also reminds us of the sacred order derived from almighty being. However, as shown in [Simulacre(231804)], his recent works remove the clear boundary. In the middle of unknown world where willow trees are growing on the cloud shaped hill and birds are flying among the trees, there is an existence like sun that might enable all the existences on earth to exist. Radiated lights look like leaves of plants. What accepts lights first on earth is the chlorophyll part. As it gets through each stage, the production and consumption of energy is possible, and through this atavicus process, the artworks hung in front of viewers are made possible. What makes the boundary blur in [Simulacre(201804)] and [Simulacre(181804)] is the cosmos that seems to have thick fog or clouds.

Normally, inaccuracy becomes accurate, but it is opposite in his works. In his works, the more he works the less accurate his artworks become. It is said that the boundary is perfect until 80% is completed. However, he makes accurate forms blur by spraying paints or applying sandpaper. While the previous celadon work is a style that sticks to perfectionism, recent work seems to let it open. It is evolution towards open structure. The artist re-searches the forms that he implanted with the inlaying technique by grinding. The parts that look hazy like a vintage style are not removed but covered. Except [Simulacre(091803)], the only work that consists of squares, the basic structure of the Simulacre series is circle. The round shape reminds of the celestial sphere due to colors similar to celadon or white porcelain. In his works, these circles are situated like numerous bubbles in different sizes and locations. However, these are not accidental but form inevitable chains. Whether lines are definite or not, the symmetrical composition is the general trend.

Arthur Lovejoy restores the previous stage of space that the modern era emptied through atheism in [The Great Chain of Being]. According to Arthur Lovejoy, the world before the modern era had a sole structure that is definite and easy to understand, and it was not only an obvious form but also the most perfect and simple form that all objects consisting of the world can have. The most representative thing is the celestial sphere, a cosmic constituent unit which stars were thought to have on their surfaces. Since Plato, circles have been considered as the symbol of completeness, and this metaphysical principle has reconciled ego and cosmos. This is the same reason that Sooman Moon¡¯s works remind of the mandala form, which is that the world and I are unified. The aspect that things established in good order in the ¡®Fractal¡¯ series return to chaos reminds of the situation when mandala was deleted. Tibetan monks build mandala by sprinkling sand with various colors on the floor and demolish it.

For eternal recurrence to be possible, the previous world should be destroyed. The act of Tibetan monks that looks like playing with sand is edified as a cosmic act. Sooman Moon also repeats establishing and dismantling elaborate symbolic cosmos. What is needed for this change to be possible is blank. Blank might make connotative diversity possible. It might be the reason why deleted(or covered) parts are increasing. If the space where birds and butterflies fly is sky, clouds in recent works highlight process rather than structure. Clouds contain objects of various stages including the crystal in them. Sooman Moon¡¯s elaborate symbolic cosmos is systemic, but this system will also appear and disappear. There are clear forms in [Cloud(011707)], in which butterflies are flying in the middle of space composed of multi-layers of circles, because the background is bright, but the space filled with butterflies means the space is broad enough for the butterflies to move around.

The space where fish are in [Cloud(071803)] is the same. To the artist who says ¡®art is not dots but lines¡¯, the fixed dots are swollen and become clouds. Works with clouds or that resemble clouds are harmonious but they are not the cosmos that has no movement. The butterflies and fish in the Cloud series show the circulation phenomena like clouds. The ¡®Fractal¡¯ series shows strong feelings that can¡¯t be fixed in any forms. The ¡®Fractal¡¯ series that has mostly blue colors even though density and colors are different in the center and surroundings seems like waves, which are the combination of forms and processes. The water here spurts like a well rather than flows like a river. This spatial imagination is not flowing by time or by line but spurting. All of these are the conditions for ¡®creation rather than reproduction¡¯(Deleuze). The thick texture in the ¡®Fractal¡¯ series looks like lava erupting from crater.

He refers to this form as ¡®eruption of lava, feeling of spreading¡¯. He devised this idea from the phenomenon that when lava erupts, the center becomes empty and the center sucks other parts. Since nature never let empty space empty, movement by the difference between density and concentration occurs. The Fractal series, which is mostly 1m diameter, has very high degree of intensity of substances and energy. This means the stage of struggles for existing order to be melted and new order to be created. The stages before and after cosmos are chaos. In thinking, the adoption of time enables not only the visible reality but also the condition of the reality¡¯s appearance and disappearance to be seen. The round looking sub appears as a process of boiling in the picture taken very closely. The Fractal series of Sooman Moon visualizes the flow of energy that will cause the change of objects. The Fractal series, which has imagination of movement but has no actual movement, says objects are the substances of solidified energy.

It is a law that penetrates all from the cosmos to machines in factories. In [Critical Mass: How One Thing Leads to Another], Philip Ball defines heat as ¡®disorganized movement of atoms that conflict each other¡¯ (Benjamin Thompson) and says it was possible to invent Carnot cycle device that circulates pistons while gases are expanded(heated) or contracted(cooled) by the flow of heat. According to Philip Ball, the field(thermodynamics) that appeared for 19th century engineers to make better engines now turns to provide the most majestic and fundamental explanation. The Fractal series of Sooman Moon shows the whole process of changes like thermodynamics. The thermodynamics penetrates all different kinds and dimensions from creatures to steam engine. Fractal is also a phenomenon that structures are repeated in different dimensions. According to the poetic expression of Philop Ball, Fractal is ¡®a map made from frozen historical events¡¯.

The work [Coherence(031707)] is related to another way of energy, the conveyance of sound. This canvas work that has the feeling of bronze is ¡®spreading Emaile Bell¡¯. In the middle of the screen is phoenix, and patterns that spread like bell sounds are arranged in a radial shape. The secret of Emaile Bell made in the 13th century is its different cross sections that create two different wavelengths, and big wavelength and small wavelength intervention each other, creating the undulation phenomenon. The echo sound is so mysterious that there have been a lot of assumptions, but the legend that the bell was made from a human who was melted was proved to be wrong. However, people kept pursuing to hear human sound from musical instruments and from instrument sound from human sound. The title ¡®coherence¡¯ is related to undulation, and it is a specific brand name of audio device which is one of major interests of the artist. This work that has no sound shows the imagery of waves.

Douglas Hofstadter defines music as ¡®continuity of vibration flying in the air¡¯ and ¡®continuity of emotional reaction in the brain¡¯ in [Godel, Escher, Bach]. However, the author says there should be vibration before emotional reaction can occur. The imagery of vibration appears not only in this work that is related to music, but in works of Sooman Moon, which are recursion. According to Douglas Hofstadter, the recursion structure is ¡®the structure surrounded by network structure¡¯. The example is a story in another story. Sooman Moon¡¯s works of Fractal arranged in multi-layers of circles in other circles ¡®will reach infinite regress by becoming cyclical¡¯(Douglas Hofstadter). Fractal in which cyclical self-cloning is endlessly done and the process that sounds are conveyed are the same shapes. The recursion is ¡®based on the fact that same things simultaneously appear on the different layers¡¯(Douglas Hofstadter).

The book title [Godel, Escher, Bach], in which mathematician, artist and musician appear, says that the recursion found in music and art is found in atoms. According to the author, substances consisting of nuclear are protons, neutrons, neutrino, pion and quark, and everything in the world is made from billions of bubbles in bubbles in bubbles. The work [Gate of Time(041803)], in which the flower in the center is situated like the sun, and grass, fish and birds are in the middle earth, gives warm feelings due to its colors. The work [Gate of Time(051803)] paired with [Gate of Time(041803)] gives chilly feelings. While the blue lines are more removed, they seem to disappear to the other side of space-time. Margaret Wertheim says there are not only objects but also space and time were born at the moment of big bang in [The Pearly Gates of Cyberspace: A History of Space from Dante to the Internet]. This concept of space creates cosmological narration. According to [The Pearly Gates of Cyberspace: A History of Space from Dante to the Internet], while big bang created elementary particles such as protons, neutrons and electron, the elements that consist of human flesh and bone such as carbon, nitrogen and oxygen are derived from fixed stars.

In Sooman Moon¡¯s works, all creatures including those that were born afterwards pass through ¡®door of time¡¯ as well as space. The big canvas in the shape of a concentric circle expresses the feeling of space that is expanding, and sometimes it gives the feeling of door to pass through space-time. The round shape is connected to not only space but also the imagination about holes(white hole, black hole, circle hole, etc.) that enable time travel. Time in modern cosmology is considered as a different dimension of space. Therefore, this fourth-dimensional compound is expressed as a word of space-time. A mirror-related work, which is exhibited experimentally in this exhibit, is related to the imagination about the movement of dimension. The work [Bronze Mirror Design-Front and Rear View] has the touch of the Fractal series and the patterns in ¡®simulacre¡¯ series. The half of the work is left empty. According to the artist, it is ¡®a blueprint of a bronze mirror¡¯ with two sides paralleled on one blueprint. The right side is the front side of the mirror, and the left side is the patterns in the back of the mirror.

The artist shows the back and front of the mirror at the same time, which reminds of a sort of threshold that divides this side and that side. The mirror is another door that connects here and there like holes in ¡®door of time¡¯, and this imagination appears in odd fairy tales like [Alice in the mirror land]. Thinking about the other side that is invisible is metaphysical thinking, which is infused in viewing works as symbolic cosmos. Sabine Melchior-Bonnet says the figure reflected in the mirror arouses a sense towards different immaterial world that exists over the mirror, and tells people to get over the world that rises to the surface in [History of Mirror]. According to [History of Mirror], the mirror attracts viewers¡¯ eyes to the door through symbols and inference, and to indirect journey that proves another place that is not visible in the middle of visible things. Bonnet takes an example of Plato¡¯s [Timaios], which displays metaphysics of light and reflected image, and says the visible world here is the feature of invisible world and that there is an idea that soul is the reflected image of the sacred.

According to Bonnet, the mirror performs the role of medium in the structure of inference and rank in the tradition of Platonism. The mirror becomes the medium of analogy in Sooman Moon¡¯s symbolic cosmos consisting of chain networks of existence. [History of Mirror] views that the mysterious symmetry in the world of symmetry and correspondence, or paradise of Plato, makes us believe there is equivalent, better, or invisible pair behind our everyday reality. According to him, the dream to go to the other side beyond the mirror is equivalent with the desire to be born in the other side. This shines the hope to harmonize inside and outside, and the attractive hope to live a life of phantom and imagination in the world without the weight of reality and pressure of guilty. However, it is not easy to travel from this side of the mirror to the other side of the mirror. Alice that passes through the mirror doesn¡¯t live smoothly but starts the journey of adventure. The journey from this side of the mirror to the other side of the mirror appears as a maze whose exit is hard to be found.

Sooman Moon¡¯s works that consist of complicated lines are compared with mandala, which symbolizes maze. In the maze, which might be the road to the truth, time becomes an important variable. Old relics that Sooman Moon is inspired by have traces that time left. Lines that are gradually blurred or that are originally blurred in his works imply that there is road instead of showing that there is something at the end of the road. During the process of refining buried roads, new roads are found. In the work that has at least ten layers, roads are not only made but also found. A delicate work [Klopfen(031803)] is as elaborate as other works, but close-carved patterns are not well visible. A symbolic work, in which time-space in limited area is densely filled with roads, is mysterious, but it doesn¡¯t have a decisive meaning like the center that is left empty implies. There is only a road that stretches endlessly. In [The Limits of Interpretation], Umberto Eco sees mystical semiosis in the fused relation that mutually combines the microcosm and the macrocosm. According to Eco, the knowledge of mystery can compare things that are above with things that are below, and vice versa.

The cosmos means that everything is different and is recognized as a tremendous glass room reflected by other things. As Michel Foucault says in [Words and Things], analogous thought is infinite. Therefore, modern science rejected analogous thought. The scientific observation is elliptical orbit, but the analogous thought that sticks to perfection sticks to elliptical orbit. However, science, which is human study, can¡¯t escape from the analogous thought, and art is more like it. In the maze of interaction, the ultimate meaning doesn¡¯t exist. Echo says that the mystical secret is empty secret. The world in the mystical though is covered by wire nets, but the function of communication in this sign is omitted. That¡¯s because the sign is not transparent. The opaqueness of the sign was highlighted even when modern art rejected the reproductionism. Sooman Moon¡¯s works that have increased parts that are erased imply the opaqueness of the sign. This is not the fixed harmony but the result of cosmos that is fluctuating. The meaning and purpose of artistic work can be ambiguous as the meaning and purpose of life are. However, modern philosophy that is represented as the late structuralism intends to say that big meaning is instilled in this situation of drift.

 

<Reference>

Eternal Recurrence(çµêÀüÞÏý, ewig wiederkehren in German) or eternal recurrence of same things(Ewige Wiederkunft des Gleichen) is one of fundamental thoughts in Nietzscheanism, and it is ¡°the reality of life is same things eternally recur to the original forms¡±. In this thought, in which all creation is repeated in a ring, all dots become centers, so the present moment has the eternal meaning with the past and the future condensed, and thus all the moments of present, or lives in this big earth are considered as the eternal values positively.

einmal ist keinmal

Life doesn¡¯t come back once it disappears, so it is nothing but a shadow, and living has no weight. Since living is the same as dying in the first place, the cruelty and beauty of life are meaningless no matter beautiful and brilliant it is.

 

 

 

   
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