Distance between form and aspect (Yoon Kyung Youl’s Note)


In selecting and treating the big events or changes of the Korean history, from the birth myth of nation, namely Tangun mythology, to today, these pictures are not works that have complied successively the contents of history for the purpose of diachronic comprehension, but figures that are visible through an individual, that is me, by interaction of the direct and indirect experiences and even experiences a prior in the course of time and place or situations in which I was to be conditioned. Therefore these are neither objective historical paintings nor documentary ones.

It is said that people think, speak and judge of value under the category of cognition of the day, in looking over a period of the history. According to the view of Michel Foucault (1926-1984), the history is not a entire nor sequence that can be described diachronically. He said that here and there knotted by the rupture, the discontinuity and the change of rhythm. Like this, I think that in the history there can be various sides and aspects.

If we think that the radius of my thoughts and actions is inseparably related to us and that we are destined to be linked to whole us, I wonder, the readable things out of my paintings and we could have natural interrelation. That is, if we can analogize my thoughts, habits and gestures out of the figures appeared in my paintings, it can be thought that those are simultaneously related to our emotion.

From the avant-garde till today, modern art has had an important effect upon the whole art. In the opened window by opened concept and theory, various forms and theories, namely a series of opinion like off-concept, strange imagination (exclusion of relates = non literary),

restoration and plane and absolute purism removed finally the genre and even the methods of painting’s existence, but ironically for conserving the provisionality of performance art, they could not but depend on photo and relate (image and literature), and it would be only play of far away world if not be learned earlier or depended on the explanation of works for understanding the art of modernism. This caused the criticism that the theory is anterior and the painting is it’s illustration.

It is said that history comes and goes like pendulum, or turns like wagon wheel. The forms of reality like relate, image, non-formal thing, etc. reappeared. But these reappeared aspects are not what they were, because they appeared as products of compound action by coming of another situations.

In my works, I intended to express the relation between relate and form, the relation between the mental as a content and the material as a painting, namely I intended to approach the object by integrating images in which got entangled elements like follows:

How can hold and give out the image the form as material? Can make substitution (trace) of the mentality the symbol, the sign, the letter, the fixed and non-fixed types of drawing and painting? The double or triple overlapping image in a canvas or the neutral structure by which it is not inclined to any image by the transfer of variation of structure.


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