Jung Yong-do (Art Critic) The interest in the objects that the artist depicts through his works is the reflection of a certain part of his identity in the relationship with the objects or the emotions the artist has due to the memories that the objects remind him of. It could be because of the density. The fruits depicted in Meyeon Park's paintings reflect the artist's pictorial density in two ways. The first is the scent the fruit has, and the second is related to the various colors the fruit has. The fruits on the screen are not in perfect shape, but are overripe and open or rotting. It is in this state that the fragrance of the fruit is emitted most strongly. The scent of fruit right before and during decay is strong enough to attract many insects, including humans. The scent of the fruit equally fills the space around the fruit. Memories of fruit scents also affect the artist's screen, reinforcing the flatness of the screen. In this respect, the fruits on the canvas of the artist's works are described with the morphological properties of post-perspective law. In other words, it shows a flat overlapping shape of fruit, and the blank parts of the screen are filled with dots as if depicting the scent of fruit. The dots in the blank space show the artist's visual perception attitude toward the object (fruit), but they are not separated from the fruit, but appear as one medium with the fruit in the foreground. However, overcoming the limitations of expressing the scent of fruit in colors cannot be overcome unless a simple realistic method is used to draw insects such as bees. The artist overcomes such limitations through the flatness of the screen. In other words, the scent is uniformly distributed in space. As a result, fruits and scents become the subjects of Park Mi-yeon's paintings, If we analyze the artist's work from a theoretical level, it can be said that her work shows the modernist characteristics of actively pursuing the flatness that Greenberg calls for in that it aims for the flatness of the canvas. However, her artist does not artificially sacrifice other parts to introduce her flatness to her own canvas, but introduces flatness as an inevitable feature through the olfactory medium of the scent of fruit. Her artist's attitude, which reflects the artistic characteristics of modernists who presuppose her life's personal utopia, on her screen allows us to infer that she considers art as repeating extinction and birth like life.
Artist Park Meyoun, who delivers with sincere heart "Toi et Moi"
In my column in 2015, it was identified that the artist's work is in the process of dismantling the object. However, the shape gradually as they gathered hard yet A complete object appeared in the work. the writer says “The shape of an apple peels off and changes over time. As formative figurativeness, the object is converted into non-figurative through the transformation that takes place in the process of deconstruction as the work progresses repeatedly. A new creative form is created through the natural and flexible transition process from figurative to non-figurative and from non-figurative to figurative again. As always, the current exhibition starts with the last work produced for the previous exhibition.” Although the artist seems to prefer this subject matter because of the numerous flowers and apples that have appeared in the artist's work, the artist has always said that he does not prefer a specific subject matter, but instead, it has the characteristics of growing, aging, and disappearing over time. He said he was interested in finite creatures. However, flowers and apples, which were selected by chance and continue to appear in the flow of time, have become symbolic metaphors like the artist's trademark. Now, at this point, I think it might be worth considering a change in the subject matter. In that respect, ‘Untitled’, introduced in this column, shows the possibility of estimating that change.
For an artist who has a desire to start anew by finding a motive for a new exhibition from the last work of the last exhibition, ‘Untitled’ is the starting point for this exhibition as the last work done in the previous exhibition. If so, I wonder where the title selection for the exhibition is decided at the starting point or the ending point. Although each artist has a clear difference in personal taste, I guess that in the case of the artist, it is decided at the starting point. If so, the ‘Untitled’ works will certainly contribute greatly to this exhibition, but they will not be mixed with other works exhibited together.not have unique formative characteristics.
If these works contributed to the selection of the exhibition title of Toi et Moi as a starting point, it can be expected that the pictorial commonality with other works should be gathered and shared as visual characteristics under this title. Contrary to these expectations, however, no common characteristics are found, but we look forward to the possibility that the unique formative of ‘Untitled’ will reappear in other exhibitions at any time.
If it is the general trend of artist research and work analysis to contextually examine the changes in the work along with the inflection points of personal history in line with the circumstances of the times throughout the artist's life, the motive of change is found in the exhibitions held every year without a break Analyzing what is may seem too microscopic. However, I believe that analyzing the characteristics of each exhibition and finding a way forward will serve as a solid bridgehead for the next move. In this sense, if we analyze artist Miyeon Park's exhibition this time, the sharpness of the clear distinction between the object and the background makes the old feeling of scattering and spreading less, but instead, the contrast of colors and the intensity of the symmetrical structure are still attractive. For the artist, it is said that there are two ways to work: a way to express what is approaching through experience and learning through long firepower, and a way to express it with extreme concentration at the moment when an image becomes clear by focusing on emotion and inspiration. However, these two are not separated, but are inevitably united by interlocking with each other like the harmony of reason and emotion. I asked the artist what was the most important thing while preparing for this exhibition. “In the past, if the background expressed that the resonance diffused by the shape and color is at the center of the process of transforming the shape, in this exhibition, the creative, non-figurative form newly created by the transformation of the shape is the center. They exist in their fixed form as ‘perfect creations’ that have been transformed and reborn.” Even from these words, it can be seen that the artist only looks at them as a 'fixed, non-figurative form' and not as a specific object. As the artist always says, every moment he encounters a painting, he confirms and imprints on himself the relationship between the painting and himself as if whispering, “My everything,” as a cerebral cerebrum. Here is an artist who expresses his compassion for the deterioration of finite life projected through objects and all living things that decay and stop from birth to death, and transforms them into art by saying that they are beautiful. The artist sincerely asks and answers again as if confirming their unchanging relationship. That is the core of this exhibition, Toi et Moi.
The splendid background boasting a brilliant appearance thanks to the white background of the unpainted canvas and the lavender pink that can be seen from time to time stimulates the eye as intensely as the midday of a bright summer. This is the work of artist Miyeon Park. However, this splendid background only appears selectively in a few of them, and in other works, it is composed of extremely low saturation as if aiming for a separate purpose. Why did the background catch my eye first? My personal preference for fast and strong brush strokes may have played a role, but it is probably because the artist's brush strokes, which are scattered with an expansive feeling, are like the artist's trademark.
In the artist's 'Flower Syndrome' at La Mer in 2017, perhaps thanks to the inclusion of flowers in the title of the exhibition, the brushstrokes of various colors that can be naturally associated with them interfere with each other throughout the screen, leaving afterimages as if flickering in the eyes of the viewer. all. In this year's 'Answer Me My Love', the existing brush touches reminiscent of flowers are stepping back for the main image, an apple, but it is difficult to assert that it is simply a background, and it is struggling with the apple. In the past, while writing a review of the artist's exhibition, I mentioned 'counterattack of the background', which flattens the painting. This tension between the background and the main image still remains in some works, but the flowers appear and disappear as the background repeatedly, there is. If the material and theme of ‘Flower Syndrome’ was flowers, ‘Answer Me My Love’ switched to an apple with the flowers behind. Since the artist said that he only focused on 'how to release colors on the screen' and did not focus on other specific objects, other things except for the colors that are important to the artist, that is, the role replacement of the background and main image, or the main image in a flower It was understood that replacing it with an apple did not attach much importance. However, the artist has recently been escaping from indifference to a specific object by paying homage to Cézanne's apple, and in particular, apples rather than flowers are gradually being embodied as the artist's symbol. Now, for the artist, flowers and apples are the basic elements for unraveling colors on the canvas and a temptation that is difficult to avoid.
What do flowers and apples have in common that made the artist escape from indifference? It is a unique change over time, and it is clear that the artist's attention was focused on the very point where flowers and apples withered over time no longer attract our attention because they are out of the purpose of contemplation and eating. . At one time, in order to arouse the artist's attention, he recommended a ready-made object that does not undergo degeneration and cannot be dismantled, such as tearing or shaving. The artist is already fascinated by the beauty of About this, the author says:
“If a ripe apple is youthful, an apple that was perfect changes and dies over time, and at a certain point it completely dries out and ages while remaining stationary. did The work was completed happily and in a short time. The thick impasto symbolizes a scent brimming with beauty. The flowers in the background are quickly treated as lines through changes in shading and power, whereas the dry apples, on the contrary, stand still and contrast. On an unpainted canvas, as if it had just been finished, the flowers were treated naively to give them vitality, and the mummified apples were painted at once with impasto. Both flowers and apples are given life in different ways.”
According to the artist, it is clear that both flowers and apples are objects to hold on to and not let go of. The degeneration of the apple is noted, but there is no record of the degeneration of the flower, so as a result, what is the background and main image, and what the artist is focusing more on allows you to know As a result, it can be said that for the artist, rather than the unique characteristics of flowers and apples, the change in shape and color of objects over time serves as a strong motivation and a starting point that encourages and helps to work. Regardless of the degeneration of the subject, the artist's colors are still splendid and fragrant, tickling the five senses of the viewer.
It is said that the artist considers the timing of the exhibition as well. It is said that the scent was expressed through color by overlapping flowers in full bloom in an environment approaching summer and contrasting them with apples. If you want to feel the scent of flowers and apples, the artist's exhibition held at SPACE KYEOL from May 1st to 29th recommend to see.
Interview: What do you value most in your work these days?
• What do you value most in your work these days?
At the beginning of the production of the work, waiting for the five senses to be open, the moment when it is expressed on the canvas screen through the medium of inspiration.... The moment when the first staff influences the entire work is also important. Maintaining the level of immersion in the work in the middle to maintain the appropriate tension between the work and myself separating from the subject in the second half of the work, properly arranging passion and reason.
Maintaining a balance between the emotional line and the free flow of expression during the production process.
Also, I think the most difficult thing is to capture and decide the moment when the final work faces completion. (When? Should I stop brushing in the name of completion in my work?)
In the end, it seems that there are no moments when all the moments of making a work are not important.
• Compared to 2018 (the work presented in the September 2018 issue of Monthly Exhibition Guide), what has changed in your work?
If the previous work (work of 2018) had a free mind and focused on the 'feast of colors'......
The works to be presented in 2020 required a change in composition and image on the screen according to the change in canvas size. Every time an artist selects an object and moves it onto the screen, he must present a new work.
In this series of works, the exposure of intense colors was maintained, but the subjective images associated with the subject were thought of and produced by subtly connecting them. Also, during the research on color, we try to express it with various thoughts about saturation. what is color There is no color that does not match as long as there is a difference in brightness. On the other hand, what is saturation? It can be easily thought of in general, but it shows a big difference depending on the color temperature. In this series of works, I tried to further increase the depth on the screen with several works that express a slight association of images and changes in color saturation.
• To the artist, nothing but color is as important as color, but have you ever considered an object that can be dismantled, rather than a natural object that can be dismantled (e.g., an apple), as the subject of your work? What if? (In the case of an apple, since the face is formed according to the person's intention, it is possible to decide how to handle the face when drawing a picture. It's a question that I wonder if there will be)
The subject or material of the work may be diverse, but not all objects give the inspiration to express the work. “You came to me and became a flower.”
Apologies are not a common subject for me. It starts with Paul Cézanne's apple. Due to the most fundamental, primitive, and basic motive, apology begins with me. Even though I slice the apples the same every moment... My sensibility wears new clothes the moment I express it in my work.
In my work, I choose passive deconstruction to give vitality to the object.
The subtle trembling of color reminds us of fragrance on the screen. When someone asks that the points, lines, and planes in your work are pixels? I answer with scent.
Through repetitive expression of repeated objects on the screen, he does not stop training to be more satisfied with his work.
• The repetitive circle shape makes you immerse yourself in each work, but also has the power to expand as if bouncing off the screen. Wouldn't you like to accelerate this power even more by featuring just one apple on a huge canvas?
When choosing a canvas, try to choose carefully. When the subject is moved to a huge canvas, free expression is possible due to expansion, but...
The tension and solidity of the subject on the canvas is my great pleasure. It is said that a pianist trains for more than 4 hours every day in order to practice this piece.
I like the subtle trembling of the brush marks that I am training now and the tension condensed on the screen. Also, I want to enjoy the fact that I can inevitably become completely one with the screen and own the harmony of colors and expressions as my own.
But keep your mind open and when you need it...
The World of Park Meyoun's Works
Until recently, the objects in the artist's works were fruits. It may not be because the artist is particularly obsessed with a particular fruit, but rather because the unique change over time, which is common in everyday life, stimulated the artist's sensibility.
this time it's a flower Similarly, it is probably not because the artist is particularly obsessed with a particular flower, but because the unique change over time, common in everyday life, stimulated the artist's sensibility. Judging from this, the shape and color images that change over time rather than the unique characteristics of objects must be a catalyst for stimulating the artist's sensibility.
If there are objects that change rapidly with time, even if it is not fruit or flowers, they will be captured by the artist as a motive for the work, but for the artist, since the ultimate goal of the work lies in flat expression, all these objects are As in, it is dismantled in a plane.
If there is a difference from the previous works in the artist's recent works, which show only 'flowers', which can read specific forms but have no purpose of reproducing them, it is the counterattack of the background that comes out of the subject, which was the previous subject. . If the background in the previous works played the role of a composition supporting a given object with tension like a mathematical formula, now it advances to the front of the screen in the divided form of repetitive color field fragments while setting objects such as fruits or flowers in the background. The correspondence between the deconstructed and abstracted object and the color field, which was the background, creates visual tension and collides like an illusion even when the eyes are closed.
Looking at the artist's work, it reminds me of Paul Cézanne, who admired Nicolas Poussin, who valued order and balance on the screen. The reason is that Cézanne described the object of nature as “the relationship and contrast of colors” based on his theorized way of seeing and logic that constitutes the senses in the work. Like Cézanne, the artist's view of the world and the relationship and contrast of colors have been the core of the artist's work that has not been shaken for a long time, along with the authenticity of oil painting that the artist has valued.
The lush flowers of the intense and splendid primeval forest, which were presented as recent works in the exhibition two years ago, are scattered again in the color field now that we meet again two years later. It is always fun to see changes in an honest and sincere artist.