|▲ 관조-내적시선, 70×131㎝|
The movement of the stains, the dots, the small lines that foretell themselves by interlacing these elements, form a plastic reality that leads the spectator to enter into the poetic dynamic of life itself.
Master Song, with her active silence, comes to transport the viewer onto roads that seem to have no continuity, same with her strange landscapes where solitary plants sway themselves thanks to a soft breeze from saltpeter with unknown origins.
The warmth of its textures are important to this piece, given not only through the density and structure of the paper itself or of any other support which she may use, but also by the way of facing the reality of artists.
One could talk about an oriental minimalism, possibly falling in a common place, as it is far from any baroque style. Master Song installs herself in nature with sobriety and with the certitude of knowing what she is doing there.
Of course, not only accepting the sensible inspiration of knowing she is privileged, but also knowing that only nature and its mysteries offer a Being the limitless horizons which enable the continuity of the love of human beings.
Nature is her(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) primary source of inspiration, but also life and her loving dedication to teach others what she knows.
△Bélgica Rodríguez/Doctor of Art History from La Sorbonne, Paris. Art critic, Professor, Researcher of Latin American and Universal Art.