A feast of beauty consisting of interaction and sympathy : Jae-Eon Lee > Review

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 Installation artist Young-churl Shim is a creator of all-weather space. She is an artist who creates amazing festival spaces full of guts and personality with various strategies and media, with his own unique interpretation and direction, no matter what space is given. For over 20 years, the artist created a world of his own that is rich, delicate, and sometimes shocking, and always appears in ever-changing new motifs and methods. Perhaps because of his innate talent, his exhibitions are always a bustling festival. The given neutral space, the artist's senses and utterances, and the participation of the audience, who decorate it as a yard for play and communion, are all organically combined and composed as a dynamic feast of beauty. The artist's spatial art is located in a feast of beauty that truly delights the five senses and even activates the sixth sense. 

 This year's Seokju Art Award commemorative exhibition will also consist of other novel attractions and a feast. As always, this exhibition is based on an installation, in which three-dimensional and flat surfaces embroider the entire space, with objects and light, intense and glamorous performances, and active participation of the audience. The artist's media and objects are so diverse and variable that I wonder if there is anything new anymore. The installation of 1500 Bible books for one truck, and the performance of distributing them, a comprehensive and three-dimensional production through an electronic garden, holograms that evoke illusions and hallucinations, various media images, traditional crafts, sculptures, paintings... Everything that can be seen in art is covered.

 Looking back, it can be seen that the artist had been constantly exploring space and media. This is not to say that the artist's work is a mixture of anything. The artist's work was always based on a spiritual composition that seeks to communicate with nature and with the transcendent beyond it. In the midst of a mixture of instincts that are difficult to reject as a human and free dreaming, sublimation and purification are always set as the conclusion. Sometimes, the funky(?) production in the shape of a mushroom that looks so much like a penis shows the seriousness and honesty of the author. Although these strange-looking shapes may appear and cause confusion, they describe the extremely natural providence, and reflect on the fact that conflict and harmony in performance are ultimately our human destiny. This is not an exaggeration that only alone in front of the Absolute, but has an appeal because it is a self-reflection and confession that reflects the sincere anguish inside.

 The given space is always important to the artist. This is because I believe that interpreting and directing space is the most important task as an artist. In this work, the motifs of the sky, earth, and water are set through the four given layers. In the case of the first floor, aquatic plants are described as 'water', but this is not a simple description. As the source of life in our natural world, even in a single flower, countless other tissues and prototypes of life are organized like a mosaic, showing that only one collective life is formed. The flowers blooming brightly on the pedestal like a temple pillar are embedded with glass, jade, and amethyst like a mosaic, so it can be said that they symbolize the appearance of heaven described in the apocalypse. On the 4^th floor, a huge ceiling symbolizing the sky is installed, and a pious and dreamy atmosphere is created through the production of holograms and media. Moreover, the 2^nd and 3^rd floors symbolize the earth, and by mixing intense and multiple illusions and reality on the wall, the message of affection for creatures and the sending of infinite respect and adoration to the authority of creation, existence, and operation is contained in a complex manner. 

 As such, the artist's work is complex and polysemantic. None of them can be interpreted with just one code. It is the same as what a critic previously mentioned as a representative writer, while describing Thalden's discourse. Solid and flat, static and dynamic, heterogeneous styles, combinations of media and materials, divine and worldly pleasures, natural ecology and human beings all combined in a complex and constant motion to symbolize the essence of the cosmopolitan universe. Although the chaos reflects the world image, her logical conclusions are generally focused on sublimation and healing. It is not to deny peripheral and sensual pleasure, but to believe that when all of them go through the process of sublimation toward the good (good), they will be valued and that inner healing will be possible. 

 Through the play and entertainment of the five senses at the Hanmadang festival, the ideal of beauty is realized in a more metaphorical and secretive way, rather than superficially. In the midst of this, anything that leaves a lasting impression and makes you think even for a moment, whatever it is, is the ultimate goal the artist wants to capture. The fact that even curiosity and subtle reactions of the audience participating in the festival of illusions and hallucinations unfolded in a wide space form an important element of the work, is probably the essence of the artist's insistence on aesthetics.