The objective Facts, Subjective Experience and Contemplative Aesthetics
Kim Sang-Chul/Curator, Kongpyung Art Center
For an artist, the changes and transformation of his works are the evitable factors and a matter of natural course. However, Artist Yun, Yo-Whan's case show us an extreme mode of change accompanying a distinguished feature. Generally, when an artist's works become varied or having transformation in his mode of expression, he may follow to the changed mode along the regular formative vein as a foundation. However, in the case of Yun, it is represented a particular aspect by an independent formativeness with his individual experience and the result of contemplation. In this connection, Yun's art works may be defined into three at large. These three features are of result of independent and individual response against particular subject matter and thought rather than being created in the fixed forms.
As well known to all Yun's early art works were animal paintings. His established impression as an animal painting artist during his first stage of the art world has long been known to most of the people around him until this date-so much impressive was his animal painting. Setting aside of his superior pieces recognised at so many occasions such as public subscription exhibitions, his devotion and attachment to the motifs and his genuine expression were all the soberness.
At the first glance his art style is appeared to be materialistic in the outward look, but it was his basic attitude toward the creative art works in those days based on the fundamental posture as an artist. His functional display through the common objects such as goats and cows and arrangement of canvas has shown a typical form of academic colored painting possessing a particularly image. Especially the objects of the animals as if they were contemplating and the capture and expression of the postures of the animals effectively have implied the composition of the canvas based on the sympathy in the case of the strong attachment and devotion of the artist in a certain portion of the motifs rather than the simple relationship between the forming and the formed subjects. this portion would become a significant meaning for the future art works of the artist. That is to say, those animals being adopted as objects for paintings would function or exercise their roles advocating a particular part of the artist rather than being readily formed painting objects for the objective fact even if they were the objects in the remembrance or reminiscence of the artist's naturalistic childhood. Those who remember Yun as an artist, when they think of Yun's art works, they would have an associated idea with the image, and reason of such a reminded image would chiefly be due the artist's devotion accorded with the objects.
His aesthetic world which indicated us the delicate and careful composition of the canvas has not suddenly inclined toward changes. The series of the art works being displayed during 1992 with title of "the Revelation Hymn" was and epoch making art works of Yun that the customary comprehension and perception about artists by the public would be caused and replaced by quite other one, and in the same time it was just a start for a renewed formative art. As we may understand the works by their names, the works of the artists in those days were similar to the ancient pictography or marks of the abstract paining of the experimental formative art based on the individual and separate faith experience of each artist. If Yun's previous works with animal motifs were created on the basis of careful preparation and repetitious exercise of function, the later works, "The Revelation Hymn" was with a challenging impression and impromptus and is filled with metaphysical figures, which is regarded as another formative world. Having access to the boundary of Indian ink and coloration, and with the decisive delivery of brush and the unrestrained canvas management is to be well defined as a tendency of expressionism accompanied by the energy of raging tides.
As the artist himself has clarified, this was simply based on his own experience in faith, which is in other word his reply to the question, "Is God still living?" He commented : "The letters I have adopted and presented in my art works are implied the meanings of praising, gratitude, confession, sadness, prophecy, instruction, and hymn, etc. which are related with God." and the marks he had adopted in his painting with implication of confession to God are the products being created in the state of unconsciousness rather than the formative The artist's painting and the analysis which is implying at the first glance the methodology of automatic technique are the all but not motifs of objectiveness because it has been on the ground of his religious experience.
His works, "The Revelation Hymn" being known as an art piece of intuition and inspiration has been materialized of objectiveness along the individual experience of the artist with an intention of experimental purpose to encounter the problems how to materialize or of objectiveness of his experience.
This series of art works, "The Revelation of Hymn" was pursued by the artist persistently in his agony. In the canvas with the irregularly shaped marks and phenomenon there are some of the artificial formative objects and structures in to satisfy the conditions of formative consideration and of objectiveness. Rose, butterfly, flower, and birds and all other things and supporting colors are filled in the canvas, and the introduction of the color of Indian ink which functions in integrating and harmonizing all these objects are all that are the artist's consideration and concern with the inclination of his individual experience which merely became individual behavior or preformation in order to structure it for the materialization.
In fact, the art works of "The Revelation Hymn" series, although it has the minor issue of becoming objectiveness, has relatively offered a free space which is worth to be noted. The free formativeness getting out from the representation of objective facts a quite renewed formative experience before define it as an experience in mystery based on the religious faith.
The art works of Yun, Yo-Whan is now developing toward different direction leaving a distinct line behind. That is the new formative travel stories with the title of "Contemplating Travel". This series of works has shown the momlex composition of the canvas as if it implies the combined images of his early works and the second one, "The Revelation Hymn". As we may know from its title, he has extended the world of contemplation surpassing the boundary of time and space, and recognition through the media of goats, the lyrical objects. Through the eyes of goat which seem to be already personified or so much awakened to be surpassed the human realm, so restricted and limited, cast the visual contemplation. The thought of the artist is now pursuing the aesthetic compilation as if it is in the third-person position that surpasses the various artistic figures through the perception and experience in the absolute existence from the natural lyricism.
The aesthetic contemplation of the artist is of the supernaturalism, or super time and space based on the metaphysical reason rather than the restriction of shapes or the burdens rendered from formativeness. The artist's contemplating world which is coagulated into the goat with as much as the entity of recognition and comprehension for a human is seemed to pursue the world of forgetness, forgetting everything in the sitting posture. Keeping comfortable mind to forget himself, and to approach much closer himself by forgetting his own existence, which is the moral philosophical aesthetics. And, he persistently pursued the intersection of the moral philosophy with his will and the aspiration of attaining freedom.
The artist's aesthetic travel surpassing the bondage of shape and formative, overcoming the burdens from the material and genre, and further to surpass the scope of general recognition and comprehension is opening a new horizon with his broad thoughts and basis of the art. His aesthetic travel from the objective facts to intuitive aspiration through the mystery experience and against continued to the contemplative aesthetics is so interesting as well as sober. His work rather to attempt to approach the inherent vitality by getting out from the bondage of forms are all that are varied and abundant and possible subject matters.