As he is still young, he might tempt to destroy the object; he might even want to experiment himself with the abstract and post-contemporary art. Yet he is keeping his balance digni fiedly, therefore, he highly ought to be appreciated.

His attitude might be the same the great principle in Korean modern art history, which has come from Na Hye-Sok, Lee In-Sung and Kim InSoong.

Nevertheless, his artworks have a flat sense and structure, constructed as a whole picture. Although his depiction of the objects and the motifs tries to make real nature.

It is true that description of illustrated objects is important. However, he namely puts his priority in their relationship with nearby space, i.e. composition or arrangement.

As a result, he values the sense of the objects that might catch people's delicate mind in his aesthetic view. His notion, associated with space and the objects, has an formative effect that has been already calculated.

Therefore, his paintings are not the simple reappearance of nature and motifs, but creation by his sense of dealing with them. He(ARTIST KOO CHA SOONG,具滋勝,서양화가 구자승,구자승 작가,구자승 화백,KOO CHA SOONG) does not stay cognition of the structure since reflection in the eyes is remained as natural form.

With harmonising the sense of time, two sides on the canvas contained its inside can find the balance. In the end, it becomes creation the beauty of sophisticated form.

△Lee Kyung-Sung|Former Director, National Museum of Modern and Contemporary Art; Art Critic