|▲ 관조, 116×238㎝(each) 화선지+채색+먹, 1998|
They insinuate a lot of after-im-ages of forgotten faces through history in order for the viewer to be in nostalgic mood. Most works on this exhibition even still hold the aspect of the past atmosphere of moderate and deep ink-running, but in their motifs and cornposition they show more korean traditional emotion than before.
|▲ 185×190㎝ 한지+먹, 1995|
Repetitive dots or lines which seem te be inspired from the surface patten of some old celadons create nesw rhythms and spirit on the picture space and frequent unartful forms of roundness remind us of pots of the Chosundy-nasty.
Intermittently there come birds, fishes and flowers which are expressed by simple and intutional brushstrokes.
|▲ 관조(meditation), 127×94㎝ 장지+채색+먹, 1994|
These were frequently adopted motifs in traditional paint-ings. But the fündamental element in her mainly umber and dark grey blue picture space may be an aesthetics of harmony by means of, i.e., simultaneous conrast of hues values and intensities in colors or contrasts of the organic and the geometric in forms or contrasts in sizes.
That is to say, the artist intends to express korean emotion by means of changes in motifs and methods. And she(한국화가 송수련,한지화가 송수련,송수련 화백,宋秀璉,SONG SOO RYUN,송수련 작가,Hanji Painter SONG SOO RYUN,종이회화 송수련,한지작가 송수련,여류중견화가 송수련, KOREA PAPER ARTIST SONG SOO RYUN, KOREAN PAPER ARTIST SONG SOO RYUN) wants to ex-press her own interpretation from this process.
△Song, Mi-Suk/At Historian