|▲ 팔당을 찾아서, 73×53㎝ oil on canvas, 1992|
Her sense about shape is quite free in itself. She may be able to conjure up such open images because she shapes up her painting from free emotion, paying no heed to the expressive technique of anyone els. Seeing her work, one is awakened to the fact that indeed in painting assumes an appearance of numerous diversity depending upon artists.
|▲ 장미에 반해서, 61×73㎝, 1993|
In her(서양화가 손문자, 孫文子)painting, the realistic shape is not accorded with weight. What is alone required is the sense of plasticity replete with swiftness and force, capable most purely of conveying her own emotion about expression. Thus, the shape of the object is either skipped or simplified, sometimes, disfigured or distorted.
|▲ 비원에서, 65×54㎝, 1993|
Her(손문자 작가)freewheeling interpretation of the shape, not abiding by any definite order of form, rather seems to arouse the aspiration to expressivity, with no trace of conscious intent of making a better painting. In figure painting, she focuses on enlivening the individual atmosphere of that particular personality.
|▲ 교회가 있는 마을, 65×45.5㎝, 1993|
Thus, the chromatic arrangement is quite refreshing. Since the expression of emotion is placed before depiction of the shape, the arrangement of the colors and the image structure are freed from a conventional uniformity. The free, robust contour lines, accommodating the seemingly incongruous colors, manage to conjure up such open shapes. ▲By Shin Hang Seop(art critic)