His motifs are generally concentrated at the center of the picture. gathering them densely and intentionally, they look as a whole lump. As a matter of fact, some of them placed at the rear would not be exposed completely because of overlapping.

The particular construction and composition that is to focus on the premise of his art works, lumped motifs, was already repeated in Molandi’s paintings. What effects does the artist expect by centering motifs, then? Putting the motifs at the center is apparently intentional, after all.

It implies that artificial construction might be unnatural. Although it is quite normal that still life paintings can be constructed artificially.

Each of motif he adopted has its own individuality for its formative beauty as much as possible; his paintings are free from the general sense of still life works, which artists ordinarily use to search for harmonisation and integration.

It gives the reason why his works can be called artificial. This kind of the method to arrange motifs would eventually require an intellectual interpretation. It persuades the viewer to look into the variation of lines by gathering the motifs rather than seeing each beauty they have.

The diversity of lines formed like a lump would act as an active role and add visual vitality. The contraction of motifs can become another matter to study.

In other words, there are so many constructional feature in his(ARTIST KOO CHA SOONG,具滋勝,서양화가 구자승,구자승 작가,구자승 화백,KOO CHA SOONG)paintings because of gathering motifs at the center of the canvas. One thing needs to highlight is the fact that the whole picture somehow seems to be lost the proportion and the balance.

△Shin Hang-Sub/Art Critic