|▲ 관조, 225×170㎝ 순지+채색+먹, 1999|
That is to say, the sentiment of inner world or customized is not distinguished from the artistic expression, therefore, ultimately the horizon of pictorial effect has been expanded.
Thus, the artist has been depending upon a particular artistic method, namely Baekbal Method which would enable her to maximize her pictorial effect. Specifically, when a portion being treated with glue and egg is completely dried up, and when a pigment is added upon the portion it would not accept the pigment.
In this connection, the artist has noticed on the point that the said portion would have a white space even pigment is applied upon it, and eventually developed her own painting method of Backbal Method.
However, the process of the said method is not a newly introduced one at all. However, especially in her recent artworks it is not difficult to notice the technique has become a decisive factor which enabled representing the pictorial space of her paintings.
The technique would be displayed by reflecting concentratingly upon the portion being treated by dotted delineation, and it also been applicable widely to other drawing effects besides dotted delineation.
In case when the portion being treated with flue or egg is conspicuously impressive, she would at times work on tuning to accept pigments on the pictorial surface by adding some kinds of mineral powder.
By adding glue, egg, mineral powder and pigment in sequence or regularly it becomes multi-layers with superimposition of the pigment and materials, it would stress the inner sediment and reverberation, and thus it would enable to represent rich pictorial nuance abundantly.
In some cases, she(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) would apply soil powder with mineral powder. The paintings which been applied some soil powder is impressed comparatively untransparent. While the other case without being applied soil powder is transparent.
△Koh, Choong Hwan/Art Critic