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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.