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2022 Connecting the dots - English criticism

Grains which have achieved civilization were embedded in paintings
Lee, Seonyeong (Art critic)

Moon, Sooman who have published a lot of works of the central structure utilizes a material of rice as a morpheme in their work in recent years. How can his very spiritual works of art of the past harmonize with an earthly material of rice? But, spirituality is connected in the refined screens of lines of shapes or monochrome atmospheres. The rice-shape elements listed in concentric circle or horizontally look like points seen from a distance and monochromatic paintings being hidden by the background colors seen from a long distance. As they, in whatever form, keep their morphemes, they have various visual effects in the relationship with the background colors. I remember he told me there were works of art that he want to work more in the future pointing blank screens just with natural cracks among the works of art which were dominated by complicate patterns in his studio near Daejeon many years ago. The empty screens were filled with potentiality to be able to include anything in the several works of art simultaneously arranged by him according to the working process.

The concept which is difficult to be standardized like nothing (Ùí), voidness (Íö), and weakness (úÈ) can be subject to put them into their paintings. A lot of blue works of art in this exhibition remind you of the sky or the ocean, which shows that he tries to include things to be unable to be done in them. Meanwhile, they could be his wishes for trying to be free from a jail of work confined for himself. It's imaginary trips through his paintings. The works of art which remind you of the sky in the exhibition were inspired by the sky in Heyri with his houses. The sky that the dawn began was expressed by several color belts. The way infinity like the sky or the ocean is included in limited screens can be impossible like how to put an elephant in the fridge. But, art is a tired or exciting game in a point of contact between possibility and impossibility, not just a matter of decorating things to be beautiful. Even though they remind you of the sky or the ocean, the screens cannot completely be emptied but be filled with minimal morphemes.

The things which are uniformly and closely packed do not vary much from being empty. The round structure in putting opposite things together is easy as the ends are connected to each other. The horizontal structure emphasizes the feeling to be extended to the outside of the screens and sets the relationship with infinity. His works of art catch pieces in the middle of beginnings and ends. The middle is limited as a piece of infinity and variations of his works of art are limitless. It is shown by the combination of minimum two to maximum five colors that the shapes can be distinguished from the backgrounds. The colors that dawn seems to break beyond the horizon early in the morning are arranged. In case of the horizon, different color zones are arranged in the boundaries between the sky and the ocean which can be distinguished from each other. The morphemes permeate the landscape. The morphemes and formats are simple, but diversity is expressed by colors. The central structure and the horizontal structure which is dominated these days play a role of soothing distracted life. Moon, Sooman just submitted two works of art of the circular frames, his representative image, to the exhibition.

It's a small work of art like glittering jewels with exquisite colors and a large work of art which disturbs audience's vision. [Cloud-202], the work of art placed at the entrance of the exhibition center, becomes luminant as several colors gather. The delicate reflector which reminds you of the surface of CDs includes information. Unlike the other works of art of the exhibition, it emphasizes the central structure because of nearly uniform directions and sizes of the particles. It simultaneously emphasizes splendid and meditative atmospheres as diversity is concentrated into one. The point of [Cloud-035] that 4 canvases meet is a vivid cross. The particles which fill the inside are rice images, which is similar with ¡®Ú·¡¯, a Chinese character. Light in the relatively bright center is mysterious, but makes you feel dizzy because perspective is disturbed. Most of work groups are color in blue. There are many series even in blue and the number of colors near blue including purple is not exactly low. The artist aims at soft connection even when every color exists. The artist aims at smooth connection of every color. If it is scenery, it is the sky, the ocean, or all of them and the color bands in the screens play a role of signs to inform you of important events like sunrise and horizon to be their axes. The color bands which are distinguished from the whole screen have no clear boundaries and the screen which consists of particles plays a role of them. The particles which fill the screens to be concentric circles or be horizontal are the colors and light, transfer between both sides, and the material which symbolizes the important reality on the ground. There is a faint zone in [Cloud-685], the work of art of the blue screen with other color bands on the bottom. [Cloud-679], the work of art with a slight touch of luminant near the horizon, implies an event early in the morning when it's silent and blue. It's the important cosmic phenomenon which happens every day like rice. Besides, there are the work groups which are gradually changed to sky-blue, aqua blue, purple, etc., or become completely one color. The title of 'Cloud' implies the most natural thing against the sky and at the same time, it also symbolizes a store of information to be shared in modern digital culture. The grain-shaped particles fill a store and the artist treats the relationship between material and culture.

The works of art with personal life cycles, human history changed from the beginning of farming, and the mandala structures embrace more fundamental concepts. Moreover, the screen of warm series like orange, yellow-green, and yellow makes a contrast with the blue series. The shaped particles become the screen of the one-color style being hidden by the background depending on viewing distances. There are gradual changes to yellow, purple, and aqua blue and the particles in them are different depending the background colors. In case of [Cloud-781], the decorative features added to the works of art of these days are maximized. Decoration is a longer practice than (pure) fine arts and is closer to technology rather than ideology. There are a lot of tools with typical materials used for paintings including the cutting machine which is part of his work process, but plays an important role in it. He began art late as he had originally been an engineer and businessman, but he more often participated in domestic and overseas exhibitions than others. So he has no grounds for being faithful to practices of the pure fine arts.

The unique material of rice which combined with the abstract screens make a premise of material like the concepts in finding peace of mind, one of purposes of works of art. If the points are geometric and abstract elements, rice is an organic and material element. Turning everything to eating matters is a huge error, but an opposited tendency to do everything to a matter of the heart is also an error. Especially, the people who experienced poverty once knows the importance of material. The matter of steamed rice is rather the hidden and suppressed thing because of the natural thing, isn't it? But the suppressed things in critical situations return. Danger always lurks in dynamics of modern society. Rice can also be the mind, culture, and art. Art which seeks elegance often falls into an error of spiritualism setting up against materialism which takes over the world. The revitalization of cultural art and the matter of basic nutrition reach a social level as well as individuals. Rice arranged at regular intervals without any special center means equality, not concentration.

Equality of rice is thought to be the supreme ideal that humanity can think of. One of accessories by Moon, Sooman is the work of art which metaphorised the diverse ethnic groups with different skin colors who get under one blanket. It's a message about the reality that conflicts are growing in the global village that got to be narrower. Especially, the eating matter makes a premise of equality on the narrower earth. The grains deliver the social messages which are possible as the simply geometric points to you. The morphemes regularly arranged as if farmers transplant young rice plants mean the fair shares of the people who harvested directly working on the ground. The artist's work does not vary much from the farmers who come into contact with the earth. The painter's work shares his hardships and great accomplishments. Rice arranged at regular intervals reminds you of aspects of genes which carry on the family names through it and itself looks like each person. Some lies down, some stands, some is tilted like being about to take action.

The morphemes which are regularly arranged feel like letters. Rice can emphasize civilization, in other words, the point to enable civilization based on literacy beyond orality. Rice is not just one of several materials. Rice was a standard of value before a code of currency ruled the world. Rice is not just a neutral material to the artist who led a turbulent life because his father ran a business and it still isn't now even though he was changed to a full-time artist. In Moon, Sooman's work, rice includes contents of nutrition which is the foundation for life, but it is an element to enable different series formally. The number of the grains of rice arranged in a work of art by angling and positioning them as well as the silhouettes makes a difference to be compared with the same people as the number. It's the difference which cannot be done just with the dots were uniformly put. There are differences in the dots while they are put, but they are homogenized in the end by skilled hands. The way Moon, Sooman give differences to repetition is the utilization of cut sheets and a computer.
The sheet cutting machine used in working ballast of cultural assets in his previous work was applied to rice patterns. So his works of art have an atmosphere of prints. The overwhelming scale just informs you that it cannot be the prints. It's the same level as the proof that the work of art which cannot be distinguished from pottery was the painting through the scale in his previous work. It is filled with diversity even though he did not personally dot with a brush because the complicate production process. The canvas is irregular even though films are put on it because the canvas fabric itself is uneven and each seam of the canvas which comes out around the shapes should be fixed up one by one. So it is eventually drawn. Despite only brushwork is easier, mechanical process is added one or two times because of diversity which can be done by involving calculation. The intervention of the machine gives differences to his work in a way of random number tables. You cannot guess all the differences with the naked eye. According to the artist's words, rice in the works of art are more than 10,000 shapes.

Rice is largely 5 shapes whose embryo buds' positions are all different. There are the different shapes which come out depending on rotation. And if the permutations are differently chosen, the same works of art cannot be produced in principle. When post-work with paints is again done after working the sheets, It changes again. Basic work should be perfect because of work of the sheets in the middle. Work of more than 15 layers including applying very adhesive gesso, binders, paints put over the ground, and final vanish is concentrated in his work of art. The fact that when artists give more spiritual and physical energies to their works of art, it is more comfortable for you to watch the fruits means a difference between production and consumption. The material of rice, a concentric circle, or the horizontal structure aims at perfect finishing instead of simplicity. The morphemes of the grains of rice in the screen which is connected to No. 500 are very small, but each outline is emphasized. They do not break down like porridge. The particles of the background colors are shown as they are even in the works of art with the background colors in the shapes. Mixture of the colors happens to audience' eyes. He seeks a fresh eye with the way to remind you of impressionists' strategies.

There are glimmering visions like optical art depending on the works of art. The works of art that the dots are scattered are found, but they have an atmosphere of monochromatic paintings because of the almost plane background. The Korean monochromatic paintings were recognized internationally as the word of Danseakhwa is written in English as it is. Unique Dansaekhwa that you met in Moon, Sooman's work is thought to be found in the morphemes of rice. for night scenes, especially night views from airplanes, artificial lighting which does not vary much from the shapes of rice is overlapped. His monochromatic paintings include time slots from splendid and refined urban civilization to rice farming in the Korean Peninsula. His work of rice images went back to when working cultural remains of the Bronze Age in Goguryeo as a material during his private exhibition in 2018. The artist focused on rice seeds, a trace to do farming, in splendid and elaborate Goguryeo relics including geometric bronze mirrors. Especially, the artist focuses on ¡®Ú·¡¯, hieroglyph which means rice. The structure of running in all directions in the center is connected to his previous work. Food, important resources, lies at the heart of distribution as well as streams of water which enables farming. The uncertain times based on hunting and collection got to make a leap forward the predictable age of civilization. The beginning of farming, 'the Neolithic Revolution' named by Archeologist Gordon Childe, won a historical review to bring revolutionary change to the world. It's because the increase in productivity built on farming led to the increased population that prepared the foundation of human society. Traces of agricultural culture found from Moon, Sooman's works of art are related to earthenware. His great preference to old pottery made him worried about the people who touched his works of art to check if they are actual pottery or not. Archeologists thought that bowls got to be invented to keep grains as farming began. Old bowls used to bear the dots which may be grains or abstract senses to produce them. Jacques Brosse points out that the first men's staple food was plants, not animals.

He said that farming was born as people 'were short on tree fruits and acorn in sacred grove'(Vergilius) in [Mythologie Des Arbress]. The decline which began with the end of the golden age with a lot of oak groves could be overcome by labor. As there is a myth of the Garden of Eden, the places where fruits grow were utopia. According to [La Magie Des Plantes] by Jacques Brosse, the age of angiosperms accorded with the age of mammals because the mammals lived depending on fruits, especially grains. Growing crops resulted in an explosive increase in the population and was the basis of civilization. Jacques Brosse says that men gained stability as they could stock seeds for several years due to growing crops. The seeds piled up in warehouses have been regarded as the oldest form of capital accumulation. Wheat was a standard of value in bread culture and rice in rice culture.
Heinrich Eduard Jacob says that ovens throughout the country were substantial coinage factories as he investigated culture of ancient Egypt that first baked bread in [Six Thousand Years of Bread]. Bread had played a role of currency for hundreds of years as people paid wages with it. The most fiendish act was that people did not give bread on the day that they promised. Men get to get relative autonomy from nature in that any grains cannot be obtained in their natural state. Farming made you think of the future beyond the immediate present. Western theorists usually conducted a lot of studies related bread which are their stable food, that is, wheat, but their desire for or awareness of it is the same as Korean people's awareness of steamed rice. Farming requires much more sociality and cooperation of men than collection or hunting. Farming which is represented as rice means men's social aspect. The social aspect is very close to artistic activities. It is connected to the reason why people have thouse features even when they become adults after going through early childhood for a long time.

Clive Bromhall points out that there is no any unified theory to explain why humankind has evolved as it is now and tries to find the missing link in [The Eternal Child: An Explosive New Theory of Human Origins and Behavior]. He found an element to unite other primates and other men's difficult character all, which was childish characteristics. Bromhall asks a question about what made our ancestors regress into the eternal child. Our ancestors' change to the eternal children has nothing to do with the structure of the body and it's because of something more important for survival 600 million years ago. It's because of the necessity of collectivization, that is, love and social cooperation argued by Bromhall. Farming, a representative labor-intensive business, played a huge role in human socialization. Now, the status of its existence gets to be vague as distribution is as important as production. But the international grain price is an important standard of value even now even though the world is a cesspool of codes, not reality, especially plots of capital which is at the height of them as all things are encoded.

FAO food price index (FFPI) announced by the Food and Agriculture Organization every month is based on crops and becomes an important indicator for the trend of the global economy. Recently, due to the war between Russia and Ukraine, the whole world came under its unlucky influence. The disaster which gives a greater blow to poor countries again inform you that crops are the standard of the unshakable existence. Korea that is incorporated into order that dollars are key currency and focuses on trade without resources is vulnerable to weaponized food because it is non competitive in cereal production. Crops are neglected rejecting carbohydrate for health. Rice is called even through works of art because the importance of rice may be devalued. The process of hard work used by paints, the body, and tools every day cannot just be turned into codes. Rice historically, internationally, and economically has the status of its existence and is familiar with art to treat reality. Nevertheless, modern artists cannot reproduce rice, unhulled rice, steamed rice, etc.

Reproductionism belongs to legacies of idealism which should be overcome by modern art. Moon, Sooman abstracts reality. Images of rice did not appear, all of a sudden, in the list of his works of art. But, it is true that they strengthened his works' abstractness. Earthenware or porcelain used to be the subject of his major works of art in his previous work. It became models of the circular composition. The largest work of art in the exhibition is the work of No. 500 that 4 works of art of No. 100 with the circular composition are connected to one another. The longest work of art which hangs at the entrance is also the circular composition. Square works of art of the various sizes and ground colors are filled among them. The structure of a concentric circle is unfold to be square, the horizon is listed. Circles and squares have dimorphic relationships with one another. The particles of rice which look like character strings also implies information. The store included in [Cloud no], the title of work of art exhibited this time, means a collection of information of events in disks. As rice of surpluses collected achieved civilization, information is a reservoir of energy like rice.

If the Neolithic Age when farming began is revolution, the information age is also revolution. Information is competitiveness, technology, and capital in modern society. The particles horizontally placed in the square works of art overlap unknown character strings and mean compatibility between information and existence. The works of art of the square composition also feel like being horizontally listed like folders on the wallpaper on your computer. If you open the folders, packed character strings which are similar with arrangement of the grains of rice would have some information. For example, information related to rice genes for preparing food wars of the future can be important to society which has carried on the family names. The same goes for genes of the races that live on rice. The works of art which added a level of information to natural images which are inherent in the horizontal composition are minimal art which stretches out to various metaphors. Art acts as a bridge between material and mind. The morpheme of rice chosen by Moon, Sooman has enough symbolism to represent material. It produces emotional or mental echoes and it's every audience for himself.

   
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