|▲ 유목동물+인간 2009-12, 2009, 한지에 수묵채색, 145.5×112cm/Nomadic Animals+Human 2009-12, 2009, ink and pigment on hanji, 145.5×112cm|
Perhaps it is for that reason that Hur’s paintings are loaded with freedom, life force, and sincerity while appearing evanescent and free-wheeling. This life force seems to have derived from artistry with purity, representing the source of nature in a humanistic, contemporary fashion.
This is probably because his paintings are not simple. They are two-dimensional paintings but feel three-di\-mensional. In his works people and animals intermingle with one another in scenes harking back to a vast expanse of grassland while ink and color coalesce and become one without restriction.
His paintings at times convey potent mes\-sages, seeming to allude that the present may exist because the past existed. They unveil his intent to accuse modern uncertainty and absurdity based on correlations between nomadism and nature and humans and animals.
Joseph Olbrich stated that an artwork is meant to set up “a temple of art which would offer the art lover a quiet, elegant place of refuge.” Hur’s works not only do this, but also offer messages and strength to recover the nature and vitality of humans in a combination of diverse sources.
Camels, goats, and rhinos entangled with unidentifiable humans walking or running as if wandering around seem to freely form a new frame as an ele\-mental stage or space for nature and man. It is the beginning and end of life rather than a world where nature and man become one and universal ideals are achieved.
These wandering people and animals overlap and cut into the same space. They are actually placed in two-dimensional space but seem entangled in disorder in three-dimensional space. In his paintings, three-dimensional space feels as though it has been reduced to two dimensional space.
Just like a machine being assembled or disassembled, everything in the world is newly integrated or dismantled by the hand of HurJin and then thrown away without any serious consideration. A historical chaos of humans, animals and life flows backward in his paintings.
He looks for an artistic utopia where there might be a gap between realities, not in false images found in the interstice between man and nature.
This spatial entity may be a dreamer’s utopia or some unknown image like the mother’s womb. This black hole like entity is a series featuring anonymous humans, animals and modern landscapes. These diverse series are a realization of his(ARTIST HUR JIN,許塡,허진 작가,한국화가 허진,HUR JIN,허진 교수,허진 화백,A Painter HUR JIN) humanism based on life and nature.
△By Chang Jun-seok, Art Critic & Ph.D. in Literature