© copyright  by MOON HYE JA all right reserved.

Admin
2017년 3월 26일

Art Fairs International Newspaper

댓글 0개

Art Fairs International Newspaper/ New York Issue#11 2010 p. 18  Hye Ja Moon - Logan Riley(a critic, New York)

Kaleidoscopic collision of color, pattern, and form thrust themselves toward each other in Hye Ja Moon’s lively body of work. In approaching them for the first time, it is hard to know what to focus on. The viewer is bombarded with a jumble of contrasting pieces, piling on top of each other to create a hodgepodge of imagery, but nonetheless, quite eloquently managing to form a cohesive style of formations that become characteristic of the artist’s work as whole. Color plays an essential and defining role in Moon’s paintings. Incorporating soft, baby blues and light pinks; bold, spirited oranges; strong, defining reds; and the most electrifying yellows, the artist pushes the play on color by intently focusing on the level of saturation for the color palette, ensuring that the colors convey the greatest potential energy. The artist’s add-ins of black and blackish-gray sections contribute quite an interesting effect to her otherwise vibrant landscapes. When these colors are suddenly juxtaposed to something so very muted and subdued, it makes their fervor and life vibrate in comparison. Zigzags of yellow makes their way across darkened patches, pulsating with an alarming presence. Similarly, bright crimson staccato marks can be found on green, orange, organic forms. Having such a contrast creates a sort of pricking effect, conveying something that the viewer, in a sense, can “feel” . These kind of tactile translations are quite prevalent and established a visual motif in Moon’s work. Sharpened blocks of a medial purple jab to and from the central conglomeration of shapes that form the focal point in one painting. With an overlapping, gauzy mesh of orange line forming on top of these purple regions, a visual push and pull is established, creating once again an illusion that three-dimensionally, almost as if one would be able to reach out and grab it. As touched upon previously the patterns the artist encompasses in her paintings suggest an element of tangibility. Seen from afar, Moon’s compositions employ these patterns to describe a feeling of texture. These crossroads in sensory perception produce a kind of psychedelic experience, a state of confusion or limbo between our every–day reality and an imaginary happening suggested through an plethora of sensations communicated concurrently. While witnessing rainbows in the sky, flowers in bloom, pebbles in the grass, etc. all at once, the viewer enters a space between space, something close of kin to memory or dreams, but fueled with a surreal intensity found in the graphic coloring and patterns.   Bright primary colors compose these excited paintings. Harsh contrast are made, but the joyful nature of the colors keeps these pieces feeling young, playful ,and  oh so alive. The patterning, as well, makes for a sharp, but simple, rhythmic, and harmonious atmosphere. While both contributing unique factors unto themselves, together these facets of Moon’s work applied in addition to the occasional pockets of representational imagery, develop a strange dynamic. The color palette standing on its own is reminiscent of Po art; and all of this is combined with windows of every-day objects and scenes, a twisted, perplexed reality comes to the surface. Taking a turn from prior descriptions, Moon’s alternate series of paintings possess a much more organic, softer, and lighter feel to them. Often depicting compositions of flowers, plants, and other natural inspirations, with a careful, quiet approach. Moon treats these pieces with a delicacy not found in other works. Whimsy, airy brushstrokes grace the artist’s canvas, translating a real feel for the outdoor setting. The viewer can feel almost as if they are being lifted away with the wind. Gentle pinks and blues, along with hushed purples and pale yellows compose a tranquil mood to each piece. These pieces are solemn, solitary, usually existing of a single flower or group of flowers, either outside of indoors collected in vase. These pieces’ subtle   nature is defined by their color palette and lonesome subject matter. Straying not so far these down-played pieces are another series of work similar, but a tad more brave. Vibrant lime greens take on a strong role as a unifying visual motif. Placed against the more naturalistic, representational colors that could very well be taken from life, these jolts of an almost neon green mix in an excitement and liveliness that remains absent in the previously mentioned work. Additionally, these works appear to have a much stronger, bolder application of paint. Thickening in concentrated sections of visual emphasis, the artist’s mark creates focal points and areas of interest that the viewer is initially drawn in by and returns to again and again. Against the other sections of smoothly perfected surfaces, these areas sit on top of their surroundings, literally creating an element of three-dimensionality, skewing and altering the expected flat surface. Hye Ja Moon’s pieces varies from a crisp and cleanly structured chaos to the ethereal, delicacy of a gracefully rendered nature. With numerous studies at each of the spectrum, and at almost every place in between, Moon’s body of work displays an impressive scope of her techniques, abilities, and personality as a painter.    

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.