|▲ 평화 1998, 캔버스에 유화, 91×72.7㎝(Peace 1998, Oil on Canvas, 91×72.7㎝)|
As the nature which is a part of an infinite existence of universe, the imageries of objects are closely correlated with the universe. Hence, there is an artwork which satisfies an usual formative concept by filling the space with pigments. It surrounds the motifs; in fact, this kind of the work is quite frequent. The space is painted not to remain as the motif.
The back scene in the painting certainly looks empty. Some of noticeable colours are restricted; the viewer may notice delicate waves of transmitted emotion. On the blank, without creating a specific image, it is shown that certain items has been lied. It is, therefore, indicating a content of a substantial object that is comparable to the image of motifs.
|▲ 시계 있는 정물 1996, 캔버스에 유화, 53×41㎝(Still Life with Watches 1996, Oil on Canvas, 53×41㎝)|
Nearly fixed point of view is another interesting point in his pictures. In other words, he prefers to portray a facade horizontal composition. His point of view appears repeatedly as if it reveals his subjective volition derived from a certain conviction. The fixed point of view that aims the center seems to be accompanied with his(ARTIST KOO CHA SOONG,具滋勝,서양화가 구자승,구자승 작가,구자승 화백,KOO CHA SOONG)dispassionate observation.
The viewer may highly feel a certain existence outside of the canvas that looks into the motif, which leads to watch the painting closely. It would often overwhelm its admirers to get useful pressure.
△Shin Hang-Sub/Art Critic