|▲ No32 Forest-Black hole, 72.7×72㎝, Mixed media, 2015 ⓒADAGP|
Through this quality of expressionism we may come to understand that Ryu is painting nature. No longer a simulation of nature as it might have been in the past, the recent work strives to obtain amore direct engagement. Over the past few months ,her paint goes more deeply into the dark recesses of nature that may also constitute a metaphor of herself.
Her Forest–Black Hole paintings requires an in-depth gaze, more than a superficial glance. More than just images, her paintings represent a quantum leap into another reality, a searching penetration that reveals a burgeoning of truth that has evolved from her memories of observing nature through actually touching the bark of the trees. Ryu paints nature as she evolves her craft into art.
A year ago, I noted the following in the concluding remarks I made on Ryu’s paintings at the time: “It appears that the recent evolution toward trees as bodies and bodies as trees [in her work] creates a curious and engaging ambiguity. Indeed, in the most convincing romantic painting–and here I think of Delacroix– the artist knows how to construct ambiguity in which one thing could be another, and that could be something else. This manner of painting leans most assuredly toward a Modernist aesthetic, which in the work of Ryu Young Shin appears to have found a resonance.”
In writing these words I became aware of a divide in her work. Some of the paintings appeared too involved with Pop Art from a Korean point of view. However, the stronger paintings related to her theme of indelible birch trees were beginning to emerge in a manner I considered closer to a classical form of Modernism. In the latter paintings, the surface of the tree bark began to integrate with the surface of the painting in a curious and confounding manner.
A feeling of ambiguity had entered her(서양화가 류영신,류영신 작가,A South Korea Artist RYU YOUNG SHIN,柳栐慎,ARTIST RYU YOUNG SHIN) work, which I believed tobe provocative and interesting.
One may look at the surface of a painting from the Forest series as if it were the birch bark. In doing so, one might consider the feeling and texture of nature’s evidence in the bark as essential to the tree-ness of the tree, which is perhaps close to a Zen Buddhist idea.
▲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.