Hwang Yoon-Yeok (Ph.D in Art History, Art Critic)
These days, people live with cell phones that are too heavy to contain all the news and information. It contains the world,
human relationships and personal privacy that they can connect only when they want to. Within a day, someone's life rises
to the surface of a real-time search and walks on a success path that has changed by 180 degrees, while others fall into a
abyss after being hacked. They say that light hand play alone in the cell phone they are holding determines the fate of a
human being and of a community. Yoon is said to have always been furious at these news stories, and she felt deceived by
the next day's reiteration, as well as shudder at yesterday's angry self. And it is said that it was curious about what was
manipulated and what was true, the situation that could not be resolved, and how far to believe. Nevertheless, it is said that
it clearly believes that the hidden truth lies somewhere.
Yoon Young-hye said, "While the device was designed to hide the fact that the subject's dramatic realistic expression was
painting, the act of applying paint on canvas in the current work seems to detect the loopholes in the viewer's gaze, which
is self-evidently as if it were a painting, and thus target the gap. Just as viewers are asked not to believe what the artist
suggests, she makes several versions of the painting.
In her life, the art work was always done in some form. The existence of something is proven only by the recognition and
awareness of others. But you can't say she didn't do what was invisible. That's exactly the kind of work that constantly
thinking and representing about art in brain. As if to prove this, she began updating Sns to reveal her paint 'martier' work
(the artist’s real existence) almost daily under the theme of "the vanity painting" from April 1, 2019. (Matier was a symbol
of the artist’s act itself.) By covering "Yesterday’s Painting" with "Today’s painting," Matier used the form of what was done
yesterday that became invisible and hidden by overpainting. And during the continuous update, it said: ‘...The daily accumulation
of paint has piled up and has to be laid on the floor, and the rate at which the paint is dried and the daily rate at which the
paint is put is not compatible, making the inside out and flowing out of the paint. Unexpected scenes are being produced. I feel
like It might fall if I work for a few more months. ... " However, Yoon has been posting some sort of "fabricated" images that
intentionally distort or conceal facts to make them perceive differently from reality.
The actual work he faced in his studio lay laggardly on the floor, like a heavy column of paint and thick flowing down. The
reality of this ‘tower of paint’ is as follows. He added that he used empty boxes and Styrofoam pieces on canvas to form a
tower and put it with a "clay" on top of it. Then, the exterior was colored with paint, creating a paint tower-like shape that
was stacked with real paint. Audiences who do not know the whole process may believe that the tower is a paint-only operation
unless they observe it with special care. The ‘tower of paint' is a symbol of paradox that tries to show what is not visible.
How ephemeral it is to make it visible in front of you to disprove what it is! Look at this crude 'tower of paint’ in front of
you!
On the contrary, 'Massive Paint' synthesized the images of oil paintings she produced and implemented them as a new painting
image. The events on the canvas have already disappeared, but the images left behind have been distorted and re-organized and
transformed into huge "fabricated picture images." Like fake news that snowballs and is reconstructed differently from the truth.
The printed and sleek image of Matier is transcribed into a square column, as if in a different form. At the same time, however,
when you go back to the pillar, you face three sides in the shape of a "ᄃ" and the image is reflected on both sides indefinitely.
The expansion of fake paintings, which proliferate, creates the illusion that audiences are invited to a virtual world flooded
with fake information, and causes them to experience repeated sliding. It is empty like a fake paint tower, but it is confirmed
to be refilled in reverse due to a reflection of a single stroke in the mirror. As if to witness a reenactment of the work that
took place in the artist's head. As such, the artist emphasizes the existence of something beyond painting.
If the aforementioned meaning of "painting over" is a means to emphasize non-visual and non-physical existence, then "painting
over" in this painting will be a question of reproducing and representing the existence at the same time. That is why the
painting is intended to be reproduced in paint again. It is also directly related to the question of maybe where the painting
is triggered and finished with reproductions. The artist used ‘painting’ as a ‘metaphor’ to emphasize the message, and the
messages considered as ‘like painting’ thoughts (along with magical realism) are again ‘being-painting’. Let's look at the
Vanitas painting, a 17th-century Dutch still-life painting. Paintings on the subject of the Bible are, ironically, that they
are all fleeting things that will fade away but so realistic. Isn't it a testament to the fact that all the greedy things in
life are captured by the eyes? Indeed, the artists are also experiencing the magical phenomenon of their brush teasing, which
they seem to have already had, even though they can’t have.
If you look at Yoon's work, you try to solve the problems that arose from paintings again by painting, and therefore have the
character of dialectical painting. Although he expressed the result of his personal reasons in the form of paintings, the
painting itself is more like a process of reproducing the layers of the cause rather than becoming the final destination.
It is a kind of language that conveys the artist's concept. Recalling the presence of invisible beyond what is seen is also
in line with Rene Magritte’s 'Ceci n’est pas une pipe'. Works that are reproduced in painting, or in non-verbal, are all
languages that play their roles according to the artist's intention. Yoon cleverly synthesizes multilayered languages on
canvas, penetrates into space over canvas and into the viewer’s thinking system. Furthermore, the artist uses ‘exhibition
review’ as a means of communicating his language. Yoon Young-hye created the existence of a fictional art critic named 'Hwang
Yoon-yeok' and entrusted the review to the exhibition, while reproducing a review that criticizes the exhibition beyond
painting.
The audience was caught in a trap of bitter smile when it came to participate in this paradox game, where it was impossible
to know where the beginning and the end were. It would not be a coincidence that Fool's day was the first day of the feed.
It may be the current address of ordinary artists, unfortunately, that the intention behind the artist's concealment was not
much of an issue, perhaps due to fewer followers than he thought. Nevertheless, Yoon is an artist who calmly, relentlessly
and persistently knocks on the door. Even if there's nothing in it, what he's looking for makes him believe as if it were in
it. The audience would like to ask whether he is ready to tear up and redraw the first base he created, not just look at it.
in the painting of (that doesn't look like usual)painting.