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2017년 3월 26일

Hyeja Moon, Swinging on Canvas

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Hyeja Moon, Swinging on Canvas [SEO SEONG ROK /2012]


*Abstract art is related to an activity of visualizing inner reality and emotion.  The internal state of mind is represented through strength or direction of brush strokes, and harmony or contrast of colors.  The internal state of mind is summed up by emotion and feelings.  Rhythm and colors are carriers of emotions and feelings to the visualization.  Of course, other figurative arts are the same in that point, but in the case of abstraction art, a real image does not exist.  That’s why abstract art is so much dependent on rhythm and colors. Such rhythm and colors are the central elements to Hyeja Moon’s work of art.

*Before long, her paintings were like outbursts of passion. Brilliant colors were wavering upon the canvas that was filled with spirited brush strokes and improvisatory lines. The screen was filled up with traces of high waves and a rainstorm with thunders.  Conflicts of complementary colors, gestures of roaring, disturbance and tension settled all over the canvas, etc. Such dynamic composition is originated from jazz. And its pace, improvisation, effect, diverse tones, and suspense remain intact on the canvas. The author is weaving a screen with diverse patterned tones of feelings.  We listen to her pictures with the eyes.  Musical sentiment brings the author’s brush strokes to lead various emotional colors, free gestures, harmonious composition on the canvas.

*Leaving abstract elements aside, the author began introducing a ‘storytelling’ technique a few years ago.  The colors are still bright, but compositional parts such as ornaments and patterns became noticeable.  The screen turned a babbling space mingled with lots of images.  I suppose that the author might think it is plausible when there are images on the canvas.

* The author often borrows images out of favorite music, cartoons, and fairy tales.  The images are independent.  For example, a couple riding on a bicycle in the starry night sky, two lovers dancing among falling leaves, a dancer on the rainbow hill, a singing woman, a running man holding a bunch of balloons, or a drop of spooky blood and a grave yard. Such irrelevant images are to be seen on a screen.

*That’s why we are hardly able to read a definite story from her paintings even though they are somewhat related each other.  For instance, flowers help in the background when a person floats in the night sky. Then, why does the author put such images on the screen?  If there is any hidden agenda among the separate images, it could be a collection of feelings when listening to music, watching animations, and reading cartoons.  That is to say, the images are the products of the author’s experiences. The two cases are basically not different:  a man paints a landscape on the hill or field; a man writes a note after a concert or a book – reading.  The author says, “I borrow the utmost feelings offered by contemporary music and portray them”.  Her saying shows such a way of working.  

*Musical variation Above all, melody is frequently seen on her paintings.  In order to pick up the melody the author utilizes many ways and techniques. Especially, she concentrates her brush strokes.  Besides description, she put stress on brushstroke itself. In doing so, the screen is constantly agitating and waving.  Paint lines unfolds freely on the screen, so it became the stage of waving sea, or an autumn street full of swirling leaves about in the wind.

*While, there is a very interesting part in the working process. She uses a brush (size 0) which is finer than a brush for manicure. Anyone who knew that she painted all her works big sized or small sized with the 0 size paint brush must be amazed.  Although she needs dozens of brushes to complete a work, she clings to the 0 size brush for the quality of lines.  Besides the textures of each brushstroke, she takes advantage of free rhythm and nimble velocity, which are derived from a flow of a fine line at a single motion.  Her work requires a considerable time and energy with her own techniques.

*It is much easier to portray a body movement when using a finest brush. The author chose the tool with its own property: it can carry her own breath and pulse to the canvas.  The lines with the author’s breath and pulse would make a delicate rhythm and come close to the author.  So, the screen and the author became one.

*Musical feelings are also found in various images besides the effect of lines such as a display of dancers, a falling person, a dashing bicycle, moving patterns, swirling leaves, drifting musical notes and flower petals. Basically dynamic images, which give an impression of the heave in accordance with the music she listens to compose her painting.

*As a music lover, the author is still ‘shaping music’.  To her, colors are the same streamline.  That is, the colors sometimes conflict bringing viewers to passion and turn harmonious as if nothing happened.  For her, colors are carriers of feelings, and the full screen is a concert stage.

*”I believe music offers energy to life.  At a concert the tension, composure, happiness and grief of passion of musical players captivate an audience.  In order to visualize the energy given by such music, I try to make an effort to transfer the tension, passion, velocity and hesitation through a display of a dancer”.

*Music influences the whole process of her work.  For instance, once she draws, she keeps it without correction.  The author never abandons the rule.  If the correction of the drawing changes the traces of the first brushstrokes, the first tension and velocity becomes loose, and it is not suitable to express the music lacking energy.

*It can be understood in the same context with performance art, especially musical performance.  At the musical performance, a tiny mistake can be corrected or adjusted.  Even a mistake is included in a part of the work, and an unexpected moment should be decided on impulse.  Hyeja Moon makes an emphasis on the first drawing lines and leaves the background color along the lines, which is called Gap Opening Technique because she considers painting as a performance like a musical concert.  Her every process of working is put on the canvass without correction including even her mistakes and clumsiness.  As if music offers vitality and energy to our lives, paintings are also a way of energizing our lives for her.

*Hyeja Moon continues her ‘pictorial variation of music’ today.  She deepens her conviction that pictorial formation is apt to express the feelings of music. As Mondrian, Kandinsky, Klee, and Delaunay proved, painting is equipped with conditions to figurate music.  In that, it is no doubt by the author lines, colors, composition replace rhythm, musical notes, and musical composition.  Through fusing with an adjacent genre, she widens and deepens the area of visual art.  In her paintings, life encompasses happiness and sorrow.  No matter how she expresses sorrow and joy, she let us know they are our precious feelings and true emotions.  The fragile moments of the past seem to remain as precious memories.  Perhaps, painting is an inverter that changes various colors of feelings into a sublime.

*Rising feelings The author weaves her inspirations with bright colors and rhythmic lines and widens her representational world.  By doing so, she gets by-products like amplifying purity of life through a formative language equipped by new life.  Her painting is basically bright and pure.  Although there are some dark parts, positive parts of life take more. We feel her paintings ‘bread’ in every way that we see: images, colors, composition.  Nothing is stationary. She sees all the objects moving somewhere with vitality. That means the power of driving her art is originated from constant will for life.  In the flame of life, we thrill with joy of life and sometimes are indulged with a beautiful romance.  Like this, the author portrays a large group of people with various feelings like busy musical notes on the blank music paper as if she hopes to remind us that our existence is composed with familiar feelings and a healthy feeling is essential for a happy life.  We feel that we are alive.  If there are no feelings, we have no interest, or get attracted by any object and action. In spring, the fragrances of flowers captivate us. Then, we should be happy to be intoxicated by the fragrance of spirit through her paintings.

Seo Seong Rok (Professor of Fine Art Department, Andong National University)

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.