How pictures open the world.
Painting itself was a theme of his recent works, but it generally appears in all his works. Such a thematic consciousness is occasionally inserted into his paintings in text forms. Malerei Unserer Welt is a German phrase for painting in us. This German phrase may be interpreted as that painting is in us, but it can be regarded as a world of painting if the word, us is seen as a highlighting that means painting. Thematic consciousness asking painting itself appears in texts in paintings and emphasizes the world of painting.
Painting itself and the world of paintings are a thematic consciousness, and texts remind modernism paradigm. This work has the autonomy of art and the inherent rate of painting because it tries to find painting itself inside the paintings rather than outside. This work is a self-reflection painting as well as a meta painting from the point of view asking what painting is rather than realizing objects. If the work asks what painting is, this may be a critical act. Therefore, this has no distinction between the pictorial subject and the critical subject, and the pictorial act and critical act because it includes critical act and tries to perform the act. This also displays the idea that the artist regards the painting as a study painting.
In this work, the painting itself or the world of painting is regarded as the nature of painting. So how do paintings realize their own nature? Nietzsche, a German philosopher, regarded paintings by dividing them into Apollonian impulse and Dionysus impulse. According to him, art is in harmony with the urge to pursue impulse, dismantlement and vitality to build inner order on one screen. This also can be regarded as a comparison of formalism and vitalism, and according to the artist's expression, it can be seen as a contrast between reason and emotion. This work represents various factors—as I mentioned—such as formalism and vitalism, reason and emotion, and self-expression of the artist and the nature of paintings while they are harmony in each other, which gives us a taut or loose tension.
In this way, the painting aspect becomes the symbol of reproduction in this work, the narrative becomes the allegory, and the landscape is reduced to the color point and the color face. What is expressed in the artist appears as the nature of painting. For example, they are buried or disappear in the form elements of symbolism, allegory and painting. This is the same aspect that the artist thinks his picture of a chunk of thought and calls a sediment of contemplation where thoughts and speculations naturally deal with the nature of painting and painting. In addition, this is the idea of returning the world to painting. Finally, it is a state in which the subject and object cannot be distinguished, and this represents the thought of dimension (such as subject and object are of one mind in the East, and the concept of the universal life by Merleau-Ponty in the West).
The artist shows the state of painting realized its nature, where we are captivated by the idea that the world of the universe may be opened in the nature of painting and our nature which have broken the boundaries. Heidegger, a German philosopher, said that art is a start of the universe. This is an open world that can exist only when it is not art, which is related to the world to which the artist belongs and the world in which the artist wants to open it.
■ ChungHwan Kho. Art Critic