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> Flowers of Thinking blooming in the Yard of Idea
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> A canvas is thick with flowers in full blossom and overgrown grass. In the canvas of artist Kim, Hyun-sook are revealing all sorts of beautiful flowers and plants a variety of figures while concealing colorand shape. That really assumes a form, but not nature of objectivity. Therefore, it will be needless to obstinately ask the name of flowers or talk about the ecology of grass. 
> It is an anonymous yard that indwells something mysterious, or dim and hazy sensibility, and her own nature which was recomposed of the subjectivi쇼 of idea while eradicating the objectivity of ecology. The artist's yard is repeating growth, becoming abundant by itself and naturally creating a harmony through secret formative communication in extremely static order. 
> It is order created in the midst of confusion & illusion and also an ideal yard formed by an idea transcending rationality while having a sort of organic life force. 
> The writer's yard where flowers bloom and bees and butterflies are rambling is diverse but not complicated; it's static, but never stiffens. It's because the yard is not nature of ecology any more which becomes abundant through repetition of blooming and withering, but an ideal space privately blooming in an idea.
> The artist's yard is a space that goes into retreat and withdraws with light and even form excluded. The artist's favorite borrowing work method, in which she gets the color to transude by adding to a kind of back painting. Such a method is aimed at obtaining a subtle and connotative expression while restricting ornate and delicate expressive power of painting brush.
> It is thought that such a work method well is nicely compatible with the artist;s intention in that the method deviates from the description or reproduction of an object's ecological characteristics. The forms privately revealed while thoroughly adhering to planar characteristics is achieved by accepting random contents derived from the behavioral traces, not by reflecting contrived traces that express.
> Planar characteristic doesn't guarantee the rationality by naked eyes but expresses speculation based on an idea. 
> The artist's yard where flowers are in full bloom mingled by grasses is aiming for the ideal of an initial idea, so much a planar characteristic plays a role of adding to its depth. Flowers offer words with their fragrance, but the artist's yard draws viewers with its rich idea. The yard is not a visible space identified by naked eyes, but rather a space of thinking and meditation that become much deeper and abundant in the midst of rambling and feeling with eyes closed. 
> The forms revealed by appropriated and effectively applying the characteristic of spreading and seeping unique to water-soluble pigment assumes a shape of solid substance, but their essence could be interpreted as a kind of space of emptiness. 
> It will be wholly the writer's call to get all phenomena set into a formative thing by combining the phenomena created by a pigment adapting itself to the property of matter.
> The forms of emptiness established by the artist while contriving and managing are sometimes combining a canvas through concrete configurationality and sometimes plays a role of revealing another substance just like blank space. 
> They are also the ones which offers room for a variety of transformations and interpretations while hovering between contrivance and randomness. The artist's work which sets up contrivance through randomness and directs a space of emptiness through substance becomes more abundant by relying on sensibility, not on rationality working on reason, which is the artist's formative view appearing through projection onto materials and expression; thus, it's self-evident her formative view has a certain link with Oriental thinking.
> Individuality is certain to be embodied through the process in which a certain image is taken from an object which objective nature has, and the certain image is processed by establishing the base of a canvas the artist's sensibility and through the subjectivization process in which expression is made by the artist's formative will. The artist's artwork is completed by establishing the base of a canvas on the basis of the water-solubility and perviousness of a pigment and adding an image having solid formative beauty to the established canvas base. At a viewpoint of material aspects, the different property of perviousness and waterproofing, establishment of metaphorical images through the back color and the superimposition of evident & precise image are created fundamentally on the basis of contrast and collision. 
> Such a contrast and collision come out as a physical phenomenon, but the basic the artist is seeking for, in a sense, is presumed to the development of space that exists between such elements. those are the relation between reason and idea represented by resemblance and substance expressed by being exposed and concealed. The artist expresses the concealed space of emptiness through the forms of substance and transforming the substance into more abundant & diverse space by expressing the space of emptiness.
> Notably, the expansion and emphasis of such contrasts noticeably exposed in her recent works sure prove that she is intending to raise her work up to a new phase.
> Such an intention is presumed to mean her deviation from her previous pattern of artwork supposing that her previous works premised a certain ceremony for the virtues that should naturally be fitted as Korean paintings of traditional paintings.
> In addition, the artist's new intention could be understood as the projection of her will to reflect time and space to which she belongs to through moore private subjectivization. Relatively moderate, but her opening to materials and aggressiveness in her expression are sure to be exposed in her recent works. In short, such opening and aggressiveness are expressed in freer, more composed freewheeling form through which she is believed to open up new space. Her new artworks, in which connotative symbolism is more deepened and privateness of space design characteristics stands out more by introducing the images having solid configurationality, could be interpreted as the heralding of a new signpost for the artist Kim.
> The artist now comes to obtain much freer space deviating from the comlpicatedness of form reproduction; it's because the artist's interest doesn't lie in ecology simply like flowers and nature, etc. nor in displaying her function through material uniqueness. In addition, on the basis of his independent interpretation and understanding of the traditional method of Oriental painting, such as ink-and-wash painting and tradition Korean paper, etc, she finally managed to obtain the passage to dissolve the antiquated, stiff fetters of design by achieving the gradual opening of materials and expansion of expression.
> Relatively moderate and gradual, the message of change which the artist is showing in her recent works is concrete and evident. The motto of her message is to decorate ger own private yard of idea more profoundly and densely by faithfully reflecting the time and space to which she belongs to, not caved in by tranditional value nor restricted by material limit or characteristics. Of course, this will be manifested through design; however, it will be enriched and abundant by thinking working on the inner side of design work.
> In the realities of diverse and stimulating modern art, and considering the realities of Korean painting which rarely finds its exit from the fetters of stagnancy, such a new itinerary of the artist is thought to be worthwhile enough to take a close book.
> It's because evident self-centeredness and aiming point is exposed at the sensitive point of contact where the very such acute value conflicts with contradictory understanding. It will be going on gently and carefully, but its outcome is sure to be exposed while making a gradual approach to her own aim. Thus, what is necessary will be the artist's strenuous efforts and composure of affirmation with which to keep an eye on this.
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> Writing│Kim, Sang-cheol (Chidf Editor Monthly Misulsegye)
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