*From the past till now, in the era of quantum mechanics there have been so many scientists to endeavor to find out the principle of light: Euclid of Alexandria (300BC) mentioned the light went straight on, and René Descartes (1596~1650) stated that colors turned out when light hit the surface of an object.

*In the Newton’s theory of color, the color is the result of objects interacting with already-colored light rather than objects generating the color themselves. However, Renaissance artists knew better. Classical hypothesis still contained the dilemma of transcendental cognition and empirical thought.

*Light and sound refract. That’s for sure. In 2020 - like the past with numerous theories and empirical proofs of light and sound, light and sound refract by gravity all the time, and their waves are finite. Although the newest evidence of quantum mechanics, people tend to stereotype sound as wavy movement and light as straight-forward.

* That’s what we see at a glance. Regardless of the principal of light, the artist’s perception on the phenomenon comes before the recognition. Visual impression doesn’t always fit in science judgement. Someone would say that quantum mechanics are inevitable mathematic formula for quantum theory, but every mathematical decision is unpowered in the face of a human creator’s reason. That’s why the viewers of her work should put on hold their legitimate suspicion about the artist’s uncanny choice to record what to see, reestablish the memory and represent the world.

*Her primitive paintings stir up illusion of natural disasters in the history. Her fantaisie-impromtu is the world of cognitive dissonance created by her superficial reasons. This could be found from the improvised artists in the modern industrial world. For example, 18 century industrial revolution presented many electrical facilities and convenience, whereas such technological development as a streetlight is less important than the beauty of the great flash of a city for romantic artists. For this reason, many impressionists or romantic painters loved the sight of salon de Paris or nightscapes.

*Unfortunately, we do not regard an artist who summons the first illusion in mind for his lifetime as a virtue. Nonetheless, we cannot deny that we need Chopin’s fantaisie-impromptu played repeatedly. Because such uncanny, unfamiliar passion has a meaning to us all. To Hyeja Moon, light is an incident that happened one day. The epic had to have an exquisite composition like music.

*Her work needs speedy chord changes, an arpeggio’s respiration, and rich and dramatic cantabile. It interacts with particles and waves: likewise, a newly born life of flamboyancy and fury. Then is the light. We call the moments of when the numerous lights stay on earth time. Then, the artist (creator) begins to seek for the trace her own flash and lays. As a result, the witnessed images of the incident are caught on the canvass. Hyeja Moon, the artist liberates the viewers from all gravities and quantum mechanics by dialectical reasoning which is called ‘off-loading’.

Kang Na Mu, Art essayist, Independent Curator