The images accept the honour of playing with the mirror of free association - both pictorial and imaginative – without getting lost in the risk of falling into the trap of direct, conventional representative quotation. The work of Hye Ja Moon refuses to go in for the pure imagery of figures to reach for something further but, rather, it uses its own expression through gesture and chromatic strength for the definition and maintenance of a particular intermediate level between considered reflection and disruptive improvisation.
The movement is centrifugal, centripetal, and static at the same time, the relationships between distances and the effects of antimony are all the more indisputable and justified the more they are bold and distant. The approach to the painted image emerges as the result of new, further aesthetic significance: it is not about a vision without form, but one deprived of form, an artistic operation in which colour becomes a leading character and spontaneous intuition disperses means and meditations. The reconstruction of a new chaotic order is preparatory to a different reformulation of space, within which distances and reference points are no longer recognized. It is in the very instant when colour loses its materiality that it becomes, itself, material: an unopposed and fundamental reaction of phantasmagorical fantasy, where instinct and emotional tension do not camouflage themselves in the confused ambiguity between painting and the rhetoric of painting, but they correspond to a real aesthetic and analytic feeling about expression.
Total colour time, syncopated with the jazzed-up pauses between stopping and restarting, a continual knocking down and raising, taking up and leaving of harmoniously dissonant colours which recreate a special disruptive imbalance in the pictorial be-bop of signs, curves, evolutions measured by excess and enmazed in history.
29th, November 2008 Alberto Grossi, A Critic(Italy)