|▲ 익명인간-구몽33, 2005, 한지에 수묵채색, 112x145.5cm/Anonymous Human-Dog’s Dream33, 2005, ink and pigment on hanji, 112x145.5cm|
In another serial work“Nomadic Animal, Man – Man,”men and nomadic animals are depicted in subdued hues. The flowers and human figures represented in a rather enlarged scale are in accord with the cat-like animal curled up in the woods.
The human figures are floating against the background of zebra and antelope and the elephant emerges, as if signifying the end of civilization and destiny.
The imagery of the camel crossing over a desert is thought to be as an indicator of human survival and environment. Hur’s imagination to insight into irreversibly destructive civilizations is steeped in his images of such nomadic animals. The hues applied to the stuffs are relatively intense, while the colors of animal and human figures are properly adjusted.
Through his awareness of systematic absurdity, current situation and his imagination of nomadic animals, Hur Jin deepens his thoughts on the world and develops his canvas abundantly. Even if some point out that his montaged images seem to be randomly selected and modernistic with their overlap, his imagination towards the source and wholeness of objects appears to be consistent.
The icons and figures he exploits show a lampooned world with absurdity and irony. Hur’s montages signify his formal aesthetic through which the cycles of absurd human relations, destructed nature and wild animals are represented. Some modern products such as notebook computers and mobile phones apocalyptically demonstrate the false images of floating human society, along with the images of dashing, roaring nomadic animals.
Although Hur’s(ARTIST HUR JIN,許塡,허진 작가,한국화가 허진,HUR JIN,허진 교수,허진 화백,A Painter HUR JIN)apocalyptic images should be further elaborated and more dramatically contrast individual forms, they are all formally inevitable in the process of his pursuit.
△By Ryu Cheol-ha, Chief Curator of Woljeon Art Museum/류철하(월전미술관 학예연구실장)