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The Harmonized Composition of Life and Lyricism | 2011년 06월 09일 13시 40분

The Harmonized Composition of Life and Lyricism

Ryoo, Seok-Woo/ Poet, Chief Editor
 
Korean art world today is facing imperative situation of depression in Korean paintings, owing to the tendency of the times. Especially in the 1990's, such a phenomenon was spread over Koran art world as an epidemic enough to arise the conscious-ness of a crisis. Is it indeed caused by only the tendency of the times? Of course I do not assent absolutely to this question. Because however prevailing a certain kind of tendency is, the real value of the great genre 'Korean paintings' cannot be extinguished. One of the reasons I think lies in the aesthetic problem namely the plastic methodology and the direction. It could be said that Korean paintings in the present have no original features and identity which resulted from following of old style and copying of western aesthetics.
Mass produced paintings today disguised as contemporary art are eventually lacking in sense of the times or of our own. Accordingly Korean paintings lost the powerful ground, and it is concluded that the painters themselves have led to the crisis of being skeptical about the existence of Korean paintings.
The add aesthetics of eccentric figures with traditional cylindrical Korean hat in western style clothes, with traditional socks in shoes has been widespread as representation of Modern Korean paintings. In this process Korean paintings came to face critical situation of their existence. The reason that I make long introductory remarks is that young artists are fortunately. Now coming into the limelight who have dear intention to harmonize traditional context with modernity.
Kwon, Hee-Yeon is distinguished among them. Though subject matters, mediums, or techniques. She uses are not new, it is certain that she presents the direction and structure of aesthetics of Korean painting, getting out of the existing frame. Her works are based on light-coloring.
She shows plainly her own language by putting the essence of Chinese ink, powed colors, think coloring technique on compositions one by one, by not being bound to one method.
Fist of all her works give clear and quiet feelings. The lyricism created from here corresponds to our sensibilities. Without any other explanation, the works produce our thoughts, feelings and scenery that we have in common. In other words, they appeal to us as 'our own paintings'. She uses the traditional context of flower paintings but the feelings are not trite. It means that she doesn't follow copy the existing technique of flower paintings. The most difficult thing that many painters face was to take theme which was, as a whole, the same in Korean paintings.
For that reason, they couldn't help producing similar works to existing ones, and this led to a common idea that Korean paintings were hackneyed, which made Korean paintings be reduced to depression. Kwon, Hee-Yeon's works start from the same theme, but the works give fresh feelings by developing unique methodology getting out of the old style technique.
That's why her works are remarkable. Of course the only new technique doesn't make compositions perfect. Artistic ability is essential to back up those compositions. In this respect Kwon, Hee-Yeon shows outstanding talent.
She uses mainly point dyeing technique, so to speak, her works are made by depicting the forms only in colors, but the flowers contain energetic feelings. The vividness that is full of life but quiet adds fresh feelings to the subject matters. The technique that she uses in drawing the branches is fine and at the same time delicate.
What is more, the technique of the flowers tells how equipped the painter is with elementary skills. Her strong point lies in this fundamental techniques. As everything goes, all the arts including paintings require the fundamental techniques, therefore those who are well equipped with them can be artists of the first rank. In fact the retrogression of Korean paintings comes from sticking only to modernity with disregard to the fundamental skills. Paintings that have the fundamental techniques, more than anything else can get the average points, and then the quality and level of paintings are enhanced by the ability of artists. In a word, we say power of brushing touch, Kwon, Hee-Yeon has such power of brushing touch as a Korean painting painter.
This is not a lip service to compliment her. There is nothing to be desired in her works when a piece of work is criticized according to the effects of composition, description, colors. I can say again that she has gone through plenty of training of fundamental techniques. From there she seemed to find out her originality. she draws the real images of flowers but the composition contains modernistic sense.
The back ground of compositions is filled with lines of colors representing her inner mind, not the real nature scenery.
Her works are refined and graceful with the technique of Chinese ink brushing, light coloring, and color spreading. Even nonspecialists in paintings can get the feelings of fresh vividness and lyricism from her works.
The objects in her works are thought to be elaborately drawn, all the same they don't lock stiff. They lock alive full of life. The power of brushing touches indicates the experienced technique of the painter. The more distinguished poing in Kwon, Hee-Yeon's works is that the works obtain the results of modernity from such common subject matters.
The works in this exhibition present the answer to the task of long standing in Korean paintings, especially flower paintings. I cannot but compliment her on the works to recognize how wide the category of Korean paintings is.
 
 
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