Natural born or just well trained
Younghee Lee is truly a natural-born artist. She brings to mind the phrase, “talent will reveal itself.” It seemed inevitable that she would become an artist. Whatever she does or wherever she goes, she is the one who translates every thought, interest and energy of life into the form of creative art. Not only was she born with talent and heightened senses, but she was also blessed with passion, that some call 'gifted'. It is not common when one has the former, but it is even rarer still when one has the latter. (For instance, I majored in painting but as someone who gave up the artist’s profession, I envy her and I value this quality.) There is no doubt that she possesses a serious approach to art, but she remains modest and lets her natural love of art
shine through. Is she natural born or just a well trained artist? Without a doubt, she is a true “artist,” in the truest sense of the word.
Viewing an artist’s work gives one the same feeling as listening to well-tuned music. It is customary for each painting to have uneven density or completion, even if the paintings are from the same artist. However, the artist's painting usually tends to maintain a certain level of consistency. Differences may exist in topic, material or pattern, but it is essential that nothing is wasted with respect to quality or completion on the canvas. The fact that all the works from past to present show an even complexion with integrity means that the artist always works by placing herself as her harshest critic, thereby enforcing the highest level of standards. There is obviously a conflict between having a self-imposed high level of standards and at the same time not suppressing one’s ability to think and create freely. Younghee is open to the outside world from her many experiences, but she has not neglected introspection and control of her inner self, enabling her to be who she is today.
Her paintings start with introspection, much similar to writing a personal diary. Her perspective draws from her inner self rather than pointing towards the external. Since she has devoted herself to her works faithfully, She has often been influenced by four major themes. The first is “Ordinary Miracles”. Images of nature such as: forests, clouds and flowers stand out vividly, but the overall mood is serene and simple. The canvas seems like it is encompassing the world with a blue veil, with soft and serene touches that contemplates and longs for a world beyond daily life and puts arms around our shoulders to heal and comfort our emotions.
The second theme is “Infinite Dreams.” It is a stage that dramatizes previous subjects of nature more idyllically with current geometrical divisions and image patchworks presented. An image of a chair is frequently and carefully inserted on the canvas. It seems that abstract factors that are partially contained in more recent works have emanated from this theme also. That is to say, it is being seen as the imaginary landscape of a point where an Ego remains in the Id condition, carefully meeting the world at a point of contact where human and nature coincide.
The third theme is “Sweet Memories”. It embodies the intention of creating more detailed content on the canvas while emphasizing the arrangement of images in multiple ways within a large division. Here, the image of a chair, which is not to say an icon of the artist, emerges even more significantly. The interaction between a will to tell and a will to gather is a metaphor or moderation that announces the work to come later.
Younghee has recently immersed herself in the fourth theme called “Heart to Heart”. This theme reflects her interest and respect for those who have participated in various social movements and social welfare activities. Her interests in this area are demonstrated by the design of a home in which many of her works are displayed and open to her neighbors. Her inner feelings reach out for a warm bond between neighbors and other members of society and these can be read on the canvas. "Inner feelings that want to seek comfort from other people and often wants to communicate with neighbors" is not only valuable to her, but is a common value to many in our current society. Nevertheless, it is a value that we often neglect. This is reflected in her work. This appeals to the ordinary, yet carries a great deal of symbolic significance.
A key image that continues throughout is that of a chair. The chair is more prevalent than ever in her recent works. The chair emerges as a symbol of a social existence. A chair represents rest, conversation, function, authority and others. It is a versatile icon because it represents individualism, while at the same time it represents living in a society. Furthermore, as in a poem by Byeong-hwa Jo, it also means one “generation.” The image of a chair is not only a symbol, but also is an esthetic structure that can be possessed and appreciated through perception. It is an object that firmly stands on the canvas. Her talent is best shown by this image on the canvas.
The image of the chair appearing on the canvas is presented with various features and degrees as much as it’s various symbols and functions. It is like the approaching sky or a window that opens to another world. At this point, we cannot amplify the image composition of the artist. The image of the chair also manages a division of the canvas as one or two parts. Proportional structure is accomplished by the fine division of a chair which is slightly leaning. This is a valuable factor in itself. Moreover, the multi-composition of an 'image' within an 'image' may appear monotonous, but it is rare to have such appeal at the beginning of a story. Good weaving presents a feeling that it is a textbook for canvas division and composition.
How her painting can reveal so much in only one composition results from four salient factors. First, it presents moderate and proportional composition like flowing water. Second, the combination of composition and texture has a unique aura. Third, it results from mixture and command of colors. Last, a methodology is used that appropriately provides the description of a story that she wants to deliver on the canvas in sensational moderation.
First, proportional composition, as previously mentioned, is a key factor that guarantees completion which literally makes or breaks the work. In this aspect, the artist displays an innate sense. Composition is simple, but the reason that it overcomes perceptual monotony, is because the composition image design is firm and the result of the painting is decided at this stage.
Second, the issue of texture is accompanied by the unique composition sense of the artist. Another point to note is the functional relationship between composition and texture (or Matiere). When the canvas is freely composed, our eyes are immediately guided to the texture. If the composition itself is cut into small pieces, it is perceived as a pattern with color without time difference; however, when the composition is simple and large, there is a slight time difference and our eyes follow the surface like flowing water. She delicately responds to this part and even concentrates the energy. One color is comprised of an accumulation of tiny spots (of course, some of them can be perceived through close observation) while others form an element of aura with a meditative medium color effect, as well as an accumulation of several layers of tough Martiere, unevenly stroked.
This is the outcome of seriously accepting the fact that Kazimir Severinotich Malevich's pencil drawing of a black quadrangle which shows the differences of color with simple brush strokes. It has been a traditionally known principle that the simpler the composition, the more comparatively meaningful the texture. It is believed by some that reductionism abstract or minimal art artists are the only ones who have exclusively used this technique. However, rather than showing the strictness of this school, she internalizes the indigenous effects of each color while dispersing it to every portion of the canvas. Thusly, she was able to create a metaphorical aura.
Her use of color must be addressed. Her painting appears to have been confined to blue shades for a long time. However, while the blue screening is clear, cool and vibrant as well as dreamy and somewhat melancholy, it is now being somewhat reduced. It is now moving in moderation and strictness to another dimension and application. Since last year, she still enjoys using blue color, but it also often emerges as a mixture of color that forms a strong contradiction to pink and black. As a result, the canvas appears to have a spatial depth or containing a warm, inner symbol in spite of its simple composition.
While her recent paintings have become much brighter compared to her previous works, illustrated images that emerge as props play a rather clear, narrative role. Images such as flowers, birds and clouds often appear on the canvas as a part of essential values that human beings pursue. These are symbols that suggest true reconciliation and accompaniment to the audiences and neighbors. While the previous works carefully express opinions, recent ones deliver the message with a clear voice and gestures. Her work needs no embellishment and it is quite evident that the values which she emphasizes the most are social issues.
In conclusion, it is obvious that what she truly wants to accomplish in real life and what she wants to represent in her work are totally united have no divide. She sees the importance of values not only in real life, but also in the clear message of opening metaphorical doors to the neighbors who have been significant parts of each others’ lives. Namely, her work appears not only as a “grand narrative”, but also as a “precious narrative”. Such a direction on the part of the artist seems a wise choice. My expectation is that her future paintings will be highly artistic creations.
Jae-un Lee (Art Critic)
