Be silent and speculate in his paintings – Kim Jong Sook’s <Communication>
The elaborately trimmed screen is red and blue, occasionally black and white, with geometric shapes arranged without colliding against each other. In another work, there is a canvas space with a red color screen tightly woven with a string, and a neighboring color screen with a doodled triangular shape and a square in a colored form.
These works of this series, produced from the <Communication> series at the moment of viewing, unexpectedly make you think about something by digging deep into your heart. Above all, the abstraction of a uniform and simple pattern and form clearly comes up.
What is this?
The reason for its strong suction power seems to be probably due to the implicit message of contemplation, which is concisely and stealthily approaching.
The secret key to that attraction is that American art critic Robert Morgan, who has seen his work, has described “the color facade abstraction of New York reminds me of Mark Rothko”. In that respect, Robert Morgan’s idea was right.
Mark Rothko has already discovered true communication about art, “The fact that people cry when they treat my picture shows that I can communicate with the basic human emotions,” and it is not difficult to understand that Kim Jong Sook has agreed with and accompanied the world of “communication” within such a flow.
His work tempts him to fall into his artistic soul while interacting closely with the irregularities created like a relief, the intense primary color of a smooth flat, and communicating closely with them.
Implicitly, this impressive message of Kim Jong Sook exists by communicating with a person who sees it, and suggests that it has real value of art piece.
In addition, Kim Jong Sook confirmed the truth that all arts eventually expand and grow as a final meaningful work by a viewer who appreciates the work.
The best transformation in contemporary art in the 20th century was the progress into abstract art that escaped from visual art.
It is abstract art and Kim Jong Sook’s actual artistic language which showed that art can abandon the shape and form of objects that are visible and that the only formative elements of point, line, face, and color can be sufficiently good.
All the formative elements and tools she uses on the surface of the work perfectly reflect the characteristics of all these abstract arts.
As early as painting, “the bridge between the soul of a painter and the souls of the people watching it” (Delacroix), the artist eventually bridges the viewer’s abstract and relies on their gaze.
What is more special to Kim Jong-sook is that the ideas of the oriental perspective permeate the concept of this abstract.
It is revealed in the silent attitude, method, and expression, which are totally uninteresting on the screen, and the author often mentioned the phrase ‘hidden things are revealed and revealed things are also hidden’ in the interviews related to morality.
It is also the main point of the artist that it is his central view of the world that it does not have to be direct to reveal a specific scene or object, which must reveal the state of the emotions, the mind, the mood, or the existence of the least.
The reason why the surface is placed on the canvas with various textures on the surface of Korean paper with the strength on the screen with the ink and acrylic paints, speaks for the formality and the color harmony of the primary color is the destination of the inside expression.
It is worth noting that the artist has consistently worked on the material and direction of expression while sticking to the essence of nature in <Nature Sound> for a long time. This is more so because the “sound” associated with it forms the basis of his work world.
So, if you think about the sound, it is the root and the background of the current <communication> language. The artist wants to embody this phenomenon in the form of color, the inner sound, the resonance.
Perhaps this is the artist’s most primitive and fundamental expression of desire for nature.
Now she wants to “communicate” these messages in a more abstract language with others and with viewers.
The objects and shapes Kim Jung Sook dictated in the picture trees, plants, clouds, animals, bushes, and mountains are merely good tools for communicating with the others.
From this point of view, Kim ‘s works focus on the essence of nature philosophically, which is visually interpreted as having oriental naturalism and ideological system that places material and direction of expression on nature and its sound.
It is to <communicate> continuously with such deep and quiet inner echo that only reasonable attitude can share, not popular aesthetic value.
What is clear here is that Kim Jung Sook presents wisely and clearly the work of simplicity as the best value and beauty. And it is the only channel of communication and the abstract painting is the best to communicate to him. Communication> rhetoric.
Paradoxically, “My art is not abstract. Like Mark Rothko, who said, “It is alive and breathe,” it is meaningless to imitate the external form of nature, and it has the same value as declaring that you can get close to the “true nature” with the ability to penetrate the surface.
Now we need to think more godly in front of his work. Then, on her canvas, she raises all the emotional waves of joy, sorrow, frustration and glee. It is like the impression in front of Mark Rothko painting.
Kim Chong Geun (Art Critic)