We’ve existed in a fast-changing time. What will the ongoing generation be on the pedestal of Art? Is it to giggle at the known bullies or keep searching for those called “new” following the “suggested” way? Both ways have been practiced for a long. As a result, however, we see the present art scene rotating. This is almost impossible for art to proceed. Having faced these questions when I think of my art, I shiver and decide to stand against the convention.
There has been a boring process of making art for a long time by applying thick layers of oil paint on canvas. I, then, consciously came away from the “thick-surface painting” process and took refuge in watercolor along with a watery medium. To avoid surface value, I had to find something transparent where it could be drawn beneath. At the same time, the eagerness to represent the electronic experience regarding layers has gradually taken a new shape and made it easy. Medium, however, got mixed up with contents and contents and represented the defeat of the ordinary by the mighty one.
We, especially, see the frightening use of muscle power in the present era in transparency. But we have no other way to come out of the dense transparency.
Foliage linearity that runs gracefully, carets soft and down-toward images on the one hand, and some sharp diagonal lines oppose the early one on the other. Uses of the flat color stand opposite to the texture. But in terms of using these entire “pictorial limits” have been overlooked to be able to put the content in the front line and to demolish our “academically set” sense of aesthetics. Thus, even in representing each work, a thought is put to single out each piece as an individual one within the unit. Within these, I want to figure out the ground of “sense of Art” between and the viewer.
