Having chosen the path of an Artist, Shin KwangHo attempts to express material meaning and the essence of… Read More
Clash of emotion and climax of moment
Having chosen the path of an Artist, Shin KwangHo attempts to express material meaning and the essence of the human’s inner side based on the emotional process and experience of the mind without being caught up in realistic or fancy portrayal.
For that He uses intense color, usually primary, to pursue effects of comparison and contrast of color and individualistic expression of emotion displaying the individual self in subjective manner. The Artist immerses Himself inside the unrealistic self of His inner side through the process of extending the mental world of His inner side to the external reality through distortion and exaggeration in which precise form and use of harmonious color are disregarded.
The psychological change and clash that arises in the Self’s inner side is expressed through self portrait depicting varied and complex emotion that occurs in the human relationship with strangers. The reflection of self that manifests includes not only His appearance but also the looks of strangers. Namely this vague motion that can only be experienced by humans who can think and speak language contains the premise that the things experienced by the Self and the Other can occur simultaneously because it is rooted in the communication between the both sides.
In one word the complexity of human emotion of attachment that is hard to come down is left as a momentary trace in the empty space of the picture plane after a long agony by the Artist’s inner spirit. This momentary quality is a sort of action that comes out of completely immersing and assimilating by the Artist of the task within a short duration while holding the brush. The fear of the Artist’s inner side and the delight from the fear occurs simultaneously as the fear of the blank canvas is dissolved as the colors arrive safely and the shapes are formed on the picture plane. As this moment is the process of bringing out something from the Artist’s inner spirit it is the climax of the creative energy.
This sort of work’s content and process corresponds with the concept of Expressionism that arose in Germany in the early 20th century. The most important thought in Expressionism is the assertion that Art needs to express the Artist’s spiritual aspect, which in essence meant the Artist should create with his spirit, and the Artist’s spirit should be contained within the Artwork in any form. Therefore the established academic or realistic tradition or the rule of perspective in landscape art was ignored, and analytic anatomy was rejected. Also, the harmony of light in Cubism or the rule of light and shadow no longer existed within the picture plane. Only they emphasized the expressionistic potential of color and form as a tool of revealing the subjective thought of the Self. Among the many representative Expressionistic artists Shin’s series of works remind the works of Edvard Munch. The human psychology that was clearly visible in his works expressing the sadness and fear of the human inner spirit with life and death as subject matter was the chaos itself. In the present the thing that the Artist cannot define clearly is the thing inside the human, which is always the chaotic thing that cannot be clearly defined in a word, and therefore that becomes a work of art by appearing on the picture plane as madness known as moment and forging an organic relationship with the Artist’s spirit.
Art is the conscious expression of such spiritual world, and this spiritual world should be complemented with basis of co-purpose and rational explanation of the Self’s work. Only then can the artwork have merit as art when it receives recognition from that (basis of co-purpose and rational explanation).