|▲ No19 Forest-Black hole, 53×45㎝, Mixed media, 2015 ⓒADAGP|
Since I wrote a review on the work of Ryu Young Shin a year ago, her paintings have continued to evolve. By evolving I mean they have become more open and free in their exploration of experimental form. They are not in the same place they once were. From a critical point of view, I find a certain pleasure in what Ryu is doing today, specifically in a series called Forest–Black Hole.
These paintings suggest they are the work of an artist emerging from the cocoon of her past. Even if the style and subject matter of these paintings look the same, they are not. While there are always traces or resemblances that make us believe one painting is the same as another, this is rarely if ever the case (unless, of course, it is made intentional).
For example, if one carefully studies the work of the mid-twentieth century Italian painter Giorgio Morandi, his paintings are always moving from one place to another, even though many would say they look the same. But they are never exactly the same. This is precisely the point.
There are subtle differences in his use of composition in each of his still-life paintings as he shifts the positioning of his angle of vision to accommodate hisoften-indefinableshapes. Moreover, his luminous, yet gentle applications ofcolor within the domain of a special whiteness are remarkable. This reminds me that Ryu also uses a special application of whiteness in relation to blackness in her recent Forest series.
The comparison is meant to imply that when a painter moves ahead in a personal way from what one may sense in the interior self, rather than the bogus world of entertainment, the artist is capable of discovering something significant. We may recognize the visual vocabulary of an artistwhere the forms areevolving in a deeply attentive way, where they are coherent, yet at the same moment willfully ambiguous. The latter is often necessary for art to happen, but is rarely, if ever predictable. Such matters simply fall into place.
This is made visible in the artist’s recent abstract tree paintings, which offer enough evidence to suggest her work is moving forward, rather than being in one place. I am impressed by the sense of stillness revealed in each of her paintings. Her(서양화가 류영신,류영신 작가,A South Korea Artist RYU YOUNG SHIN,柳栐慎,ARTIST RYU YOUNG SHIN) focus on the abstract texture of her characteristic tree trucksis most convincing when the texture reveals alow-key expressionist content.
▲Reviewer's=Robert C. Morgan
Art critic. Since 1997, he has frequently visited and lectured in Korea. He is a member of the European Academy of Sciences and Arts in Salzburg.