Harmony Living energy can be sensed in Song’s works. A feeling of aliveness becomes available when conflicting types of energy such as stillness and motion or yin and yang work together. Paper things forge their own appearances and voices through variations that spring from the reactions and harmony between two conflicting types of energy.

Such cases include the combination of natural paper and artificial rubber, a representation of light and dark and revelation and concealment, and the coexistence of roughly torn paper and sleekly cut lines. Such can also be found in the rebirth of paper whose physical property is extremely weak into a solid architectural structure via accumulation.

His works can be regarded as dansaekhwa (monochrome painting) or minimal art, but they subtly cross both of these two categories. His paper things characterized by flatness and dansaekhwa’s aesthetic traits and structures are produced through an accumulation of time and an Eastern way of working in which one’s self becomes one with an object.

▲ 부분도

However, his paper things have no spirituality or self-transcendence, key determinants that distinguish dansaekhwa from minimal art. His paper things also have the material property and repetitive structure of minimal art while seeking a diverse aesthetic texture.

Unlike minimal art that remains cold and rigid by minimizing the artist’s involvement, his(서양화가 송광익,송광익 작가,송광익 화백,한지작가 송광익,한지추상화가 송광익,KOREA PAPER,宋光翼,지물(紙物),ARTIST SONG KWANG IK,ソン・グァンイック) paper things appear austere and congenial with familiar materials and various changes brought about by pure manual labor.

△By Ha Yun-ju(Art Critic)/하윤주, 미술평론가