Posted in the exhibition “Stepwise Representation of a Comb” by Young-…
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Posted in the exhibition “Stepwise Representation of a Comb” by Young-churl Shim
1. Young-churl Shim, a new artist, is an alumna of Sungshin Women's University, who has been actively engaged in art work in recent years. She majored in sculpture upon her entrance to Sungshin Women's University in 1975, and went through a long period of education until she graduated in 1982. The qualities and knowledge she possesses as an artist can be seen as sufficient for her to launch herself as a new writer today, and her aesthetic consciousness and sense are very sharp. In addition, it is thought that the goodness felt in her daily life can also form an intangible, naive flow in his work.
2. From the beginning of her fourth year of college, she began to pursue originality that appears in her works. She chose a comb, one of the tools for decorating that has existed along with the history of human civilization, as the material for her work. A comb is a small necessity that can be used regardless of gender, but since she is a woman, her interest in or attachment to combs may have been different. In particular, she seemed to be very interested in the magical tales given to combs by women in the Ijo period. In her research on combs, she first investigated the form and use of each period, region, and type. Next, she idealized the sense of form of the essential characteristic of the comb, and took it as the basic form of modeling, and tried to find his own formative language by maximizing or transforming the basic form. At first glance, it does not seem that the formative language of Abstract Expressionism or Pop Art has been invoked, but since the formative logic of Abstract Expressionism and Pop Art is already seen as generalized universality, it is better to think of it as being naturally dissolved into the world of modern artists. I think it would be natural.
Her interest seems to have felt intense compositional beauty in the overall shape of the left-right symmetrical comb or the repetition rate of countless comb teeth. This is because she equates the ideal type of comb with the repetition rate of comb teeth. In other words, she puts the basic form of the comb on the teeth. Thus, she tried to transform with the basic form in any form variation. At the same time, it seems that she experimented with illuminating the sense of rhythm, the sense of harmony of irregularities, the sense of movement or speed, and the symmetrical structural beauty.
Her materialization of combs is seen as placing more weight on the materialization of folk relics, rather than simply materializing daily necessities, and the significance of the re-illumination of folk relics is also linked to the pursuit of humanity.
3. The expectation for Young-churl Shim's first solo exhibition is not in the solo exhibition itself, but in the life of an artist he will aim for in the future. One shouldn’t think that his first solo exhibition is complete. It should just be a matter of laying a foundation stone after choosing the land. A comprehensive evaluation of Shim will only be possible after many processes of erecting columns and covering the roof on the foundation stone laid by her. The possibility or impossibility of the process is only in Young-churl Shim's own will, and I think it will be judged by where she puts the philosophy and significance of his life. She clearly believes that she has enough requirements to grow into a large tree.
1983. Kwan-mo Jeong (Professor, Sungshin Women's University)
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