In her paintings being chiefly applied soil powder would often bears a glossy red color effects, the particular feature of soil powder, well balanced and harmonized with the inattentively drawn delineations.
Due to this effect, her artworks are distinguished by the outlook impressions similar to soil or the earth itself, or a surface of wall being barely remained its existence with insignificant trace by passing through the earth layers for a long period, or reflecting the sentiment of common people (advocating a simple, natural
aesthetic factors), and thus her painting impresses us a similarity of the surface of porcelain pots.
The touch of the outlook of her painting at times reminds of the very abstract impression by combination with other specific emotional elements. Such an impression of painting as hers is largely based on her pictorial principle which rules consistently over the whole course of her artwork rather than materialism which delivers an image directly: that is to say, her artwork is noted as closely related to the sentiment originating an image and the abstractness based on actual feeling.
The particular features being revealed in the artwork of the artist is, most of all, denoted on her indirect approach to the canvas. In other word, she would not simple consider the canvas as a simple supporting body for a specific image represented on the surface. Instead, the images represented and her tableaux would combined into one and extends over the canvas.
This fact may be largely based on the point that it is because the material of the pictorial surface is paper, which renders a double effects to her painting result.
As already mentioned, the combination of image and the technical effect and pigment and supporting body may be chiefly due to her(한국화가 송수련,한지화가 송수련,송수련 화백,宋秀璉,SONG SOO RYUN,송수련 작가,Hanji Painter SONG SOO RYUN,한지작가 송수련,종이회화 송수련,여류중견화가 송수련,KOREA PAPER ARTIST SONG SOO RYUN, KOREAN PAPER ARTIST SONG SOO RYUN)remarkable recognition and knowledge about the qualitative element of material.
△Koh, Choong Hwan/Art Critic