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¼¿ë¼±ÀÇ Àοջê
Á¶Á¤¶õ Director,
nook gallery
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Suh Yongsun¡®s
Inwang Mountain
Jungran Cho, Director, nook gallery
Since about
2014, Suh Yongsun would come into the gallery with a bag containing art tools,
such as sketchbooks, brushes and paints, and sketch the landscape visible
through the window facing Mt. Inwang. The artist, who has painted Mt. Inwang
for quite a while, began to tell a story here, where he happened to come
across, going over the historical background of the mountain. Gyeomjae Jeong
Seon¡®s Inwang Jesaekdo, which was painted for a lifelong friend, must have been
an important key for Suh, as he experimented on the modernization of the ¡°real
landscape (jingyeong sansu)¡± painting.
As he painted Mt. Inwang, which has been an important background for his
historical paintings of King Danjong, King Sejo and Anpyeong, the artist
considered and re-considered the work he pursued for almost 3 decades in search
of bases to reflect upon himself. Though he has painted the landscape in
countless works, depending on when, where and what sort of mind he sees nature
with, the landscape is painted differently. Embracing his studio is the
Daritgol forest, to which he comes and goes
every day. The landscape of Daritgol, painted in an unstable diagonal
composition, with rough brush strokes and bold primary colors comes to us as the
bold and solidly-built appearance of artist Suh Yongsun. The artist, who goes
out into nature, to walk in it, observe its rhythm and make it into his form,
reveals the stories hidden behind.
Suh, who calls
himself a painting worker, sees the image of humans through the self-portrait.
The image of the artist gazing ahead without expression is serene. His
indifferently thrown look generates much common feelings as it collides with
the gazes of viewers. The spectator face the painting, and volunteers his/her
story. The expressionist self-portrait of yellow, red and blue stimulate¡®s
human psychology to begin a conversation. Each person searches for his/her
essential meaning–through the labor of painting, in the case of the artist, and
through silent conversation with the painting, in the case of spectators.
Suh Yongsun¡®s
footsteps in search of the traces of historical incidents never dwell for long
in one spot. He draws the landscapes he encounters wherever he goes, always
equipped and ready to draw. He looks for traces of Anpyeong on the skirt of Mt.
Inwang and imagines a scene of history. To Suh, Inwang Mountain is a part of
history, and a scene where the stories of our lives are alive, breathing.
Looking at the Mt. Inwang landscape, we imagine the artist, diligently
confirming his existence, revealing the hidden side of history, and
materializing it.
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