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2017년 3월 26일

An Analogy on Jazz, the Locus of Non-Linear Space

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An Analogy on Jazz, the Locus of Non-Linear Space : Recent Works by Hye-Ja Moon [Jazz Fantasy]

What would the meeting between jazz and the visual art look like? This kind of a question maybe a vague one. Regarding this matter, there is one thing to be mentioned in advance. When I consider the meeting between the music and the traditional visual art, such as sculpture, painting, and drawing, especially in the position of a visual artist who accepts the genre of music, it would be much more proper to expect the meeting from the classical music than from jazz. This point can be believed in terms of the old companionship-like relations between the music and the art of the western modernism. As being experienced by the early tradition from Delauney, Dufy, and Mattisse to Kandinsky, it can be an example that art is enough to analogize the purity of color and the rhyme of form from the music.

Therefore, the music has played no less an important role than architecture to open a new era of the contemporary art. There have been, however, few examples that the art accepts an inspiration from a special folk music like jazz and it's difficult to find a successful model.

From that point, [jazz Fantasy] the artist has recently tried, can be understood as a special one. In her case, it can be said that it is closer to the video art by Nam June Paik which introduces various multi sound rather than the classic, but it is unique that she is devoted in jazz only.

Besides, in her case, it maybe meaningless to say that she has tried to get an inspiration from jazz. Therefore, 'extraordinary' fate has the meaning to her that it takes a different locus with a precedent from the early modern movement, which had tried to find a source of 'purification' of the art. It cannot be overlooked that the special private sources about jazz worked as a motivation to her. Let's take a notice on her comment : [ Rite of Spring] by Strawinsky and have been also absorbed in the modern music like [transfigured Night] by Schoenberg. In the summer of 1996, however, my taste of the music was abruptly changed after I visited a jazz concert of Maria Schneider in New York. It seemed that my imagination was developed by the fresh and shocking incident. On those days, I felt that the odd music my daughter mistakenly played over and over again while she composed jazz music, and I pressed myself for an impact to the new art, having feelings I've never felt before until then from the discord.

Her five-year experience with jazz can be confirmed by analogizing the inspiration, which comes from [the odd discord created by the repeated mistaken playing], in the visual art. Precisely speaking, it means that she has been devoted herself on converting not perfect, so to speak unstable condition or playing the unexpected notes impulsively by ear, without any preparation, into paintings, sculpture, and drawings above all.

Like this, [an Analogy on Jazz] has been started from her 9th solo exhibition in 1998. However, this 10th exhibition presents much more deepened works than ever. All the works of her drawings and paintings, including her main work of sculpture, have full jazzy atmosphere in them, and moreover, they are named as one theme of [jazz Fantasy]. We can often see the cases which have limited contents of themes with subtitles added on them, but it cannot be also said that it is not beyond the category of the basic theme. Her sculpture contains a jazz base, an electric guitar, a guitarist, a tree of trumpet, and a huge band. Her paintings contain the sky of Miami, rings, red trumpets, ladders to the sky, stairs, and her drawings, night, dawn, flowers, pain, soul and base guitarists, etc. Besides, most subtitles also take jazz instruments or the players, forms of playing, so that her recent works can be said to be full of the world of jazz.

Speaking in a word, the recent works of Hye-Ja Moon put the meaning on showing the unstable and natural discord or the atmosphere of the free and unexpected sound, so to speak, such as the free brush strokes on her canvas. In the case of her sculpture, the various structures take an attention from the viewer. She tries to create the free meeting between the mass and the linear form in her sculpture even though they are made of bronze, spouts freely the rhythmical movements, and makes the different forms overlapped. Sometimes, she also tries to make a purposeful gap and produces impulsive linear rhythms and forms by coloring, while giving a comment on the physical movement, and she creates shocking assemblage and swirls of the linear-mass.

The same situation is being developed in her paintings and drawings. The jazz instruments, including a trumpet and the geometric cubic forms and the ribbon-mass, create the theatrical dance. And while they are assembled together, they produce confrontation, contrast, or overturn with discordant colors and forms. The rings and lines among them create the world of chaos, which contains a kind of contact beyond the common sense, as they cross each other.

In the case of her drawings, the situation is much freer. The seam of the subtle rings are drawn with the coloring materials like graphite, gesso, oil pastel, and so on, and then the flowing pain and the solitary souls are commented and abruptly appeared. On the contrary to the seam, there are also the figures of the magnanimous rings and paper rolls, dancing flows of wrinkles created by a wavelength from some where, the streams of prototypes and the mysterious flowers almost busted. Besides, the ribbons and clouds accompanied by the vertical forms that are repeatedly connected and the subtle shades are on them, as well as the blossomed flowers with brilliant colors. As the artist confessed, she[makes a contrast between blue, purple and yellow, imagining the melancholy sound of tenor saxophone, trumpet with strong high tones, drum being stricken strongly or weakly]. While doing that, in her words, she creates the forms [as if I see the scene when sound of a saxophone or trumpet is spread in darkness, and as vibration jazz twined paper flying cloth disguise].

As for me, I consider this kind of plastic explosion, especially in the case of the visual art, forms [a prototype of the non-linear space]. As if the sound streams of jazz itself create multi-layered structure of sound, letting the numerous little streams alike or confronted to them exist in the basic streams, her works similarly create the non-linear frame of fractal forms connected with rings. At the same time, they produce dazzling movements, positioning the forms or the elements confronted each other on the back or on the front.

As well as those forms are impulsive in the way of assemblage, they create [the traces of the non-linear space], while they produce the fresh and active space, which makes people confused where the center is on, making the center and the surroundings push and compete with each other. On this point, she seems that she penetrates the reality of the non-linear world, which makes a rapid increase in these days, in the dramatic situation of jazz.

And now, Hye-Ja Moon leaves from the sculpture in which she has searched for a tidy and linear structure, and discovers the non-linear space in jazz, a symbol of the convulsive age, exchanging emotions with the modern classical music just as she pursued in 80s~90s. It is a reasonable result that she is leaning toward the plane rather than to the cube, emphasizing that drawing is the most proper genre to create something another.

This recent change in her works is accepted as a radical and fresh impact, when we see it on the aspect of her career as an artist and the generation she belongs. I think it is very fresh that she discards the reality of the art world here, where people take perfection as a measure for the plastic concept, and makes the uncompleted wildness come to the fore.

I hope that this exhibition could show the artist's whole condition through her works and get a reward with understanding and affection from the art lovers.

    2000, 3     Bok-Young Kim (Professor of Hong-Ik University, Art Critic)

최근 게시물
  • Admin
    7월 17일

    *The latest works by Hyeja Moon can be considered as the landmark that shows her long thoughts in her mind have reached to the starting point of her painting career all the way again. That is “Matisse’s colors and Mondrian’s abstracts geometric.” She titled the works <Compositions of Two Light Sources>. And the two light sources are, of course, Matisse and Mondrian who have long occupied her heart ever. What influences on Hyeja Moon’s work did those two great artists have? Matisse and Mondrian respectively. *First, according to Matisse, sound is granted its unique characteristic by music, and colors get their beauty by the composition of visual arts. Matisse also had an effort to revive the beauty of pure colors and to limit pictorial details so that he was able to focus on his themes. *As mentioned above, Hyeja Moon influenced by Matisse also shows a similar usage of colors and composition: using pure colors without mixing them on the pallet and leaving out details to focus on the themes. Especially, in the series of <Composition of two light sources> 2019 she expresses her dynamic energy with the least pictorial elements like lines, faces, and colors. The two light sources are not drawn or painted, but they can be inferred by the composition. On the canvas the undrawn light sources are composed with the lines, colors, and faces. The two light sources let the light rays go anywhere forward even though they are not drawn. *Secondly, the artist’s notes are going to be cited to see how Mondrian’s abstract geometric influenced Moon’s upcoming series. Mondrian expressed the idea that we were able to get to the essence when we analyze and simplify something through the creation of the De Stijl movement. In fact, Hyeja Moon the artist, in her note in 2015, mentioned that she was greatly influenced by Mondrian’s <Broadway Boogie-woogie>. She was startled to the work of art by Mondrian because the straight lines and dots and colors that separates the screen seemed to be dancing for music. Moon in her note in 2015 wrote that she wished the viewers to have such free feeling of fullness through her works as if she experienced through the work of Mondrian. In conclusion, Matisse and Mondrian are the two light sources (the motives) through the world of her work. The decorative and dynamic energy she has analyzed, observed and implemented for a long time is represented solely in lines, faces, and colors in the upcoming series of her work <Composition of two light sources>. This work is the result of her always agonizing over “how to draw the most liberating painting without being tied to everything” (artist note April, 2000). – Critic Soyoung Cho, April 8, 2019
  • Admin
    1월 1일

    *1. The artist Hyeja Moon considered the philosophy of off-loading as something meaningful in the composition series (2018) and she still pushes it forward. She has split the image in some ways without putting the light source in the center while being obsessed with the light source. Recently, however, she left the center of the canvass unpainted, where she used to paint the light source. Instead, after drawing the radiative lays of the light source, she draws a few dotted circles multi-layered. These circles remind of waves. The latest works are two types. One has the layers of dotted circles around the center which is left with the background color. The other has a little dark colored center and a distinct circle around it. Also, the latter has many layers like annual rings or light waves. *2. Her previous works showed the intense light source in the center which was considered as the origin of dynamic power in the context. Therefore, by leaving the center alone is quite new. Also, by leaving the center with the ground color the radiative rays change their direction toward the center not out-going, convergence not diffusion. The previous works of the light series represented giving off the light, energy, and dynamic power etc. On the other hand, in the recent paintings she changed the direction of the power and energy toward the center. Emitting the light turned into collecting and focusing the lays like the eye, photoreceptor. That is very intriguing change. *3. Through her established works, she tried to give off her creative energy with impromptu dynamism. Now, all the changes of her paintings taken together, her attitude of life may have been changed into something like contemplation and meditation. The music the artist always keeps at hand while painting changed. The album full of beautiful songs is produced by her own daughter, Young-im Lee, and the several song lyrics are written by Bub-hueng, a Buddhist monk. The meditation music she listens to while working backs up my speculation above. Artist Hye-ja Moon equipped with such meditation music will walk on and on until she found nowhere to go. 2018-12-29 by Soyoung Cho
  • Admin
    2018년 5월 14일

    *The attachment on <Composition – The philosophy of offloading> (2018) * The philosophy on light dug into by Hyeja Moon through her paintings as <Music for charms of the night sky 005> (2016), <The Sun> series (2017), and <Composition> series (2017) _ Soyoung Cho, Art Critic, 2018. *Over the past three years, Hyeja Moon has spread out various points of view and colors on the canvas for a theme, light. Year by year, it has been a challenge for me to follow the trace of her toil on light. Hyeja Moon’s recent work <Composition – the Philosophy of offloading> (2018) is the quiescence and ensemble of her previous works into which she wanted to put the thrill and joy that she got on the way home from her studio a few years ago when a light of street lamp hit her eyes and quickened her heart beat. *The artist Moon has a peculiar aptitude for the pictorial composition, and makes a new work by adding or subtracting pictorial elements with dexterity. The latest work of hers, <Composition –the Philosophy of offloading> got its subtitle on account of her attitude of light source, one of her main themes. First of all, she puts all the ideas on the light and colors on the canvas. Then, she paints the light source out of it. It was the most impressive part of all. She has occupied herself by filling elements on the canvas for some time. However, this time she beautifully filled the elements of light with the canvas, but no described the light source. That is, the artist tells nothing about the light source, but it reveals itself by not describing. *In 2016, Moon painted her intensive passion about light which was shown through her work <Music for Charms of the Night Sky 005>. In 2017, serial works <The Sun> and <The Light> demonstrated the nature of light: 1) Light travels in straight lines. 2) Light particles vary. She experimented how different effects were resulted according to the ratio of the two composing elements in the small sized <Composition> series in 2017. *After years of studying, she filled <Composition – the Philosophy of offloading> (2018) with all the elements of past works such as <The Music for Charms of the Night Sky 005>, <The Sun>, <The Light> and <Composition> series (2017). The light source that had captured Moon’s heart in a moment positioned in the center of <Composition – the Philosophy of offloading> (2018). Now, it is ready to capture the viewers’. Whereas the spatial effect of convergence and spread out in the work <Composition – the Philosophy of offloading> (2018) seems alike with <The Light> (2017), linear division in <Composition>series (2017) changed into circular in <Composition – the Philosophy of offloading> (2018). * This way, Moon collected all her toils about the theme of light for the last three years into this work. Nonetheless, she put all the stories and explanations away. Colorful plastic episodes hide themselves. The artist does not say, “The light is there”. She just says, “Let it be”. This is the part where her sagacity and experience appear.