YUN, YO-WHAN'S <Revealed psalm>

-The experience of new formation by the revelational experience-

Art critic / Oh, Kwang-Soo

Until the middle of 80's, animals were Yoon, Yeo-hwan's main motives in his naturalistic works. Most of his winning pieces of work show animals. After that, expressionism show itself in his works with no drastic change in the motives. His strokes of the brush, out of the frame of representationism, became brave and passional with some of his motives changed to natural scenes and persons.

His recent series of "Revealed Psalm" cast off the shell of image, have free strokes of the brush, and show the freedom of the plot with Chinese ink and water color mixed. Though obvious images-flowers, butterflies, birds, human faces-flickering, creating a fantastic tone. Chinese ink and water color makes natural and abstract formation, with mysterious letters like ancient pictography filling up the space, sometimes in a orderly line, and sometimes in a disorderly way, creating a variation.

What has prompted his recent abrupt change of his art? He said in his working diary, "Recently I had revelational contact with God during the religious meditation, which began to change my reasonable knowledge, my ordinary feeling, and my internal consciousness. Sunk in my deep internal world, I could feel the supernatural, transcendental being. Through that revelational experience, I received a skill of writing a mysterious kind of letters. I found myself writing in a fast automatic hand."

His change was prompted not so much by the exploration of artistic techniques as by his internal change of mind, a mysterious experience with the transcendental world. Unless the painter had explained what had happened to his works, we would have thought of his recent series as just a change from formative style to abstract style and turned the suspicious eye to the unreasonableness of his abrupt change.

His confession of faith in his working diary helps us to understand that his change is not just that of his canvas but also that of his life.

The spiritual letters came into his thinking of artistic formation and became unified with it. His method or technique in "Revealed Psalm" is based on automatic drawing, which is not an unconscious drawing but a drawing from the unification of the empirical aesthetic consciousness and the supernatural aesthetic consciousness. I think it is not easy for people in the street to understand this unification.

Not every artistic work in the form of the confession of faith is sublime and respectable. Any such works should be appreciated in a different side unless they have any artistic character. I admire the fact that, no matter what kind of experience influenced him, his works have an artistic character and brave experimentation. Through his series of "Revealed Psalm" he has come up with a new vision for artistic techniques, no matter what his internal world is like.

For the painter, this exhibition is thought at be a important turning point. How his experimentation for the freedom of his arts challenging the conventional conception will be appraised is to be seen.

-The match of pure formation and revealed logos-

Does God really exist ?

Humanbeings sometimes pray for God's help and othertimes are skeptical about his existence. Since its beginning philosophy has argued God in many different terms. Same philosophers have tried to prove his existence, some are agnostic, and some atheists. Nietzsche had transmigrationism, thinking the whole university and humanbeings are subject to the eternal rotation of life. Gautama Buddah tried to get out of the chain of causation and finally attained the emancipation of his mind.

Christ accomplished the resurrection of the Human body to deliver humanbeings from the chain of death. The first humanbeing, adam came from dirt and went face to dirt, but the last adam, Christ came from heaven, died in human body and came alive again in spiritual body.

Recently I had revelational contact with god during the religious meditation, which begin to change my reasonable knowledge, my ordinary feeling, and my internal consciousness.

Sunk in my deep internal world, I could feel the supernatural, transcendental being. Through that revelational experience, I received a skill of writing a mysterious kind of letters. I found myself writing in a fast automatic hand.

One day as I worked, I found myself putting those mysterious letters in my works with a mystical inspiration. Since letters are used to convey some meanings, it is difficult to change their original purpose and use them formation in a painting. Those mysterious letters spoiled my works quite often. Finally decided to submit to the Dinive Providence. From then on, I concentrated on the formation of letters, which gave my works the freedom of subjects.

Now the spiritual letters have pervaded my formative paintings. My formative paintings are now the mysterious harmonization of feasance and nonfeasonce. They art the match of the seen and the unseen, phenomenon and principle, pure formation and mysterious logos, and my empirical aesthetic consciousness and supernatural aesthetic consciousness.

As oriental painters liked harmonizing the three superbness, poems, calligraphy and painting on a paper, whereas western painters enjoyed only painting, so formation I have the glorification of the natural beauty and the glorification of God through the psalm written by the revelational letters harmonized on a canvas.

No planning or no rough sketch is necessary. Inspirational stimulus leads my hand. As I found an excessive desire to make a hit and thoroughly planned formation makes paintings awkward and unnatural, I have sought the freedom of not only expression but also the art of drawing and materials. The brush is no longer my puppet. The property of a brush, Chinese ink, water color, paper, cloth and etc gives unintentional freedom of paintings. By submitting to the property of matter created by the Absolute and the spiritual letters given by him which glorifies his greatness, I wish to get the freedom and come closer to the essential qualities of paintings. Ignoring subject, subtitle, and the conventional art of drawings, I seek the unification of the divine and the human. The spiritual letters appears sometimes obvious, sometimes mingled, and other times deleted in diverse styles and angles.

The spiritual letters in my series of "Revealed Psalm" signify the glorification of God, gratitude, contrition, lamentation, prophecy, instruction and psalm.

Any kind of existing language of this earthly world, however plain it looks, has limitations of the range of application. But these spiritual letters are off limitations of language because they are not the letters made by humanbeings. Since the language and symbols are almost the only tool for our daily communication, they sometimes distort the meaning of our experience. The earthly language, though convenient and necessary, confines our thinking of matters in itself. It can hardly explain our thoughts and feelings to our satisfaction, but the spiritual language can do it. The reason it can go beyond the limitations of the earthly language and human knowledge is that the holy spirit speaks to God in our place. No humanbeing can understand it with the mind trained by the earthly language. The holy spirit speaks what we can't speak in the earthly language and worships God in the spiritual language. However, if the spiritual language means revelation, instruction, or prophecy, it can be interpreted so we can understand it.

Whether my personal mysterious experience will win the sympathy of general recognition is questionable. But I hope people won't consider this as just an eccentric idea or meaningless fanaticism. For inspiration coming for the internal world, or spiritual world very often produces valuable works. This inspirational action-whether christian, buddistic, taoistic, superstitious, naturalistic, or of aesthetic consciousness leads painters to get into the almost unconscious absorption and get them to paint in insanity or fanaticism. Yet it should not be spoken of as nothing but meaningless insanity or fanaticism. Those works produced in such a way are sometimes metaphorical or symbolical, and sometimes realistic or lyric.

I hope the spiritual letters harmonized with pure modeling in my series of "Revealed Psalm" will ever be thought of in human aesthetic consciousness and by God as occupying their own holy space.