A natural picture
Lee Sun-young (Art critic)
In Hwang Hyun-soog's work, the beings that grow towards the direction of light are based on plants. Symbolized states express
meaning and form in a hieroglyphic way. The outline that forms is simple, but the base layers are complex. Putting complexity
in simplicity is similar to creating symbols. Thus the author was able to express the vitality, not the reproduction of a
particular life. The plants in the work are not pointed and round, making them feel soft. The inside of the plant is studded
with rhythmical elements. This combination of waves and particles refers to the laws of nature in a different way than physicists
do .Colour varies from work to work, but in the case of green, green chlorophyll forms the basis of plants. The same look (even the
color changes of chlorophyll in fall). The artist paints both the outside and inside of the plant at the same time. The work depicts
both the life and the life process at the life at the same time. Human beings sometimes appear in the works.
Humans originated in nature, but they are somewhat heterogeneous. Man will have to try not to be a stain on nature.
The human size expressed in the work is smaller than the plant, so the plant looks like a forest, but the model is grass. Weeds are
noted for their tough vitality rather than their shape. More primitive forms of life, if not weeds, are flexible against damage and
death. Flowers can wither in a few days, but seeds can sprout if conditions are right after thousands of years. Just like humans in
Hwang Hyun-soog's work, the existence of the sea at the bottom of the ecosystem must be more minimal than grass to create such a
peaceful and beautiful scene. The aesthetic approach to the landscape also includes social messages. Plants that look like young
sprouts with primitive nature, not like a tree, are inspired by bracken or vines. I got it. The image of wriggling vines is not a
monumental being with deep roots, firmly facing the sky, and systematically branching, but there is a possibility of change in
anything. An being, such as this root stalk, can be combined with anything.
Half abstracted plants have a plump, round, moving unit structure. There is a human figure between the flaky creatures that are facing
the light reflexively. Humans are very small compared to plants. The artist maximized the difference between nature and man by exercising
the autonomy of art. Humans are not only small in size but also as differential as plants. Man without eyes, nose, mouth, or hair is expressed
like a plant. Simple people painted in one color are simpler than plants. There is a map of life scheduled, but like a fetus, future changes
are also important. The author puts more weight on possibilities than on veracity, whether plant or human. The author puts more weight on
possibilities than on realism, whether it be plants or humans. Humans are usually painted in one color and placed among plants.
Humans are sometimes clustered and stuck in forests to do something. Humans painted in monochromatic colors for each work, such as yellow and
blue, do not dominate nature. Rather than being a forest of trees, humans who exist in the forest smile as much and shake off the arrogant
metaphysical notion of "the warrant of all things" or "the measure of all things." Sometimes the human being in the writer's work appears to
be a woman dressed in clothes and walking through the forest with zebras, which seems to be playing the writer's part in nature. Through the
characters, the landscape is told beyond the distant objects. Zebra, etc., can recognize animal species, but plants are transformed by the
author's imagination and are being transformed into unknown beings. The tentacle-like form of the Malmijal becomes a unit and is gathered in
various shapes. It is arranged towards the center and expresses the force that extends outward from the center. The forest, where unknown
creatures gather together and approach multistoryly, is moist. The screen is thick with layers of various shapes and colors, but it has a
beautiful veil of air. Nature is both material and energy. Hwang Hyun-soog's paintings have many layers like nature, and at the same time
have a subtlety that is not heavy. To produce this effect, writer Hwang Hyun-soog said. "First, decide the color, spray the paint, and when
it dries, sketch it and color it as you want.“
In this way, multiple layers of a screen incorporate varying degrees of variation depending on viewing angle and distance. Growing and moving
shapes and bright colored dots are images of life itself, not the appearance of certain animals and plants. They look rich and healthy. Animals
can also change the distribution of their own pigments in response to the environment. Inevitable and natural art is a combination of coincidences.
It's more like a garden if it's nature. In Hwang Hyun-soog's ‘Garden of Spirit’ exhibition, the image of a garden that is not completely wild is vivid.
Art itself is not nature, but it is compared to nature because it grows on its own. author start something like sowing seeds, but have to wait for
completion. On the contrary, the author plays the role of just finishing up by focusing on himself a number of sources, such as wind gusts. Just in
time, the author was born on an island and grew up in nature more than half of his childhood, and even now, his life on walks and gardens remains
connected to nature, so such a natural work must have been made.
