|▲ 관조, 221×196㎝ 장지+채색+먹, 1999|
In my childhood days, in a garden wrapped by mantle of darkness. I was often obsessed by the enchanting natural objects – the wild ridiculing branches of trees and the intimate fragrant of earth, new shoots of green grasses pushing out on the ground and the whisperings created by grazes of leaves of the unidentified grasses (imaginable as if they communicates each other in their own language).'
The artist revealed her reminiscences of her early days, which may be a fragment impressed to us an aboriginal identity of her inner world in a from of aboriginal sentiment as well as her spiritual infrastructure in her artwork.
Probably, what we call the identity may indicates a garden aş a inner world different from the visible and material world at small, or at large it indicates a suggestiveness of the grand nature or the netentity of nature itself and its vibrant life.
|▲ 96×186㎝, 1999|
As a general look, a garden especially reflected to the eyes of children would offer a fancy fitting through their minds as a dreaming space. That is because the garden within imagination of one's childhood days would be a trackless and virgin garden.
Thus, the garden of childhood days of artist Song Soo-Ryun(한국화가 송수련,한지화가 송수련,송수련 화백,宋秀璉,SONG SOO RYUN,송수련 작가,종이회화 송수련,Hanji Painter SONG SOO RYUN,한지작가 송수련,여류중견화가 송수련,KOREA PAPER ARTIST SONG SOO RYUN, KOREAN PAPER ARTIST SONG SOO RYUN) has magnificently become as subjective space splendidly combined with her dream of early days advocating her dreams, or at times the garden would really some kinds of secrets of nature to us.
△Koh, Choong Hwan/Art Critic