The 2nd exhibition by kim Weon-Hee
10.2(fri) 10.15(thu) Oct. 1992
Jahamoon Museum in Seoul
Towards The Solo Exhibition of Kim Weon -Hee
I feel something of a maniac when I stand before Kim Weon-Hee's paintings. I should say that it's more of an addiction than of a feeling. It is because she paints with obsessive spirit rather than with ideas or hands. There is no rational order or formative perfection in her works at all. Her paintings are only the nature it self projected with primal unconsciousness. So I may well say that her works are secretion of natural impulse and metabolism in life. The essence of her works shows some gesture toward primitive and primal life that goes beyond reason, consciousness, phenomena, and language.
It is quite true that her expressionistic paintings do not go hand in hand with collective consciousness. Her paintings bear some rough sense of expressionism and dark lyricism that flowed into our art world in early 1980s. However, another sense, she is quite obsessed with her kind of rigid aesthetic consciousness in that she aims at emancipating her suppressed ego in conflicting society. As L could recognize in her work notes, she wants to protect her pure self from convention, fixed ideas, system and everyday routine, and also wants to escape from suppressing reality. Therefore, some psychological theories would successfully give some clue to her works and style.
Dominating psychological element in her works is the offensive element in tensions of reality. This is expressed as an action of resistance and diffusion toward suppressing world. The traces and movement of brush in her works are very rough and violent, and there is an overflow of energy in her resistant. There is an overheat in her works that vibrates like oscillogram of ejaculation coming from her deep inner heart. the colors in her works are both intense and cold; this serves as some existential circumstance of her ownself oxidating in the world of psychedelic light. this is something of her extraordinary response of temperament.
Among all these, however, there is an escapist trend shown in her works. For example, there are many crouched forms bearing the images of protozoan ; this is a kind of phenomenological degradation toward mother's womb. This is not an actional degradation but a kind of reductive cognizance on pure self. In addition to this, she also depends on symbol and sign in somewhat defensive attitude. We can find in her recent works many representations of protozoan forms, cosmic dual forces, existence and non-existence, darkness and brightness, becoming and extinction. This could be explained as an inner sublimation for natural impulse and conflicting world.
And from this point of view, we can recognize that her aesthetic attitude is not biased to morbid pessimism. It id quite impossible for her to keep utmost tension with reality if she does not presuppose her love for herself and life. Her recent symbolic works intent on exploring collective unconsciousness successfully extend the boundary of love for her own self. Her refusal of conventional square canvas and exploring shaped canvas, or her on various material of canvas can also serve a clue. (Especially her use of hemp, cotton, paper, and wood in her collage works should be notified.)
The action of painting for Kim Weon- Hee bears paradox. Drawing can be an act of erasing for her. Her works are not decoration of life but a process of stripping off the prejudices and suppressing reality. Her world lies not in constructing ideas or logic but in deconstructing the illusion of ideas or logic. To sum up, her symbolization confronts primitive and primal life instead of facing artificial and phenomenal thing. So there is no perfection at all in her works. There lie some problems unsolved in her world. The amount of that the with those stripped off ideas.
Lee jae-eon( Art Critic)