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Indoor Scenes with Flowers

-- On the Second Solo Exhibition of Painter Kyung Hwa Kim

by Prof. Yil Yi, the Art Critic


is2_02.jpg Only one year has passed since her first solo exhibition held in April of last year. It goes without saying that it might not be an easy work for her to prepare her second solo exhibition in such a short period of time. Furthermore, considering the fact that most of the works displayed in this second exhibition were painted after her first exhibition, we can easily imagine how desperate her efforts have been during such a short interval.

is2_01.jpg Naturally, our matter of concern is focused on the degree and direction of changes and developments expressed in her new works painted during the interval. As I have made some acquaintance with her since her first exhibition, I still keep a vivid impression of her first works. In order to evaluate the significance of this second exhibition and to make comparison between the first works and the new works, the fresh memory maintained during the past one year will be of some help for the purpose.

is2_03.jpg In terms of some acquaintance with Kyung Hwa Kim, I had the privilege to write an art critic for her first exhibition, in which I described her painting style as "the World of Delicate and Rich sentiment," and I also wrote that "she transformed an ordinary interior scenes into a unique painting plane," and "she made us to rediscover through her paintings the secret sentiment of living." The same characteristics can be found in her new works, which can be regarded as the underlying basis of her paintings.

is2_04.jpg Then, what are the aspects of the changes that can be traced in the new works of Kyung Hwa Kim? The main theme of the new works painted during the last one year is located on the same line with that of her first works, that is, "indoor scenes." In spite of the consistency of the subject theme, a great variation can be detected in the method of painting. The variation seems to be found conspicuously in the works painted especially in the year of 1996. The reason that I pinpointed the year 1996 is that a considerable change occurred between the works produced in 1996 and the works painted in the latter part of 1995. For example, in the latter works, in spite of some restraint of brilliance upon her treatment of colors, her colors still remained in the level of sensation or feeling.

is2_05.jpg However, a remarkable change has been occurred in the year 1996. Not only the overlapping or excessive use of colors on the whole canvass, but also the method of a delicate and detailed description disappear completely in the works of 1996. Instead, a simple and magnanimous touch and use of plain colors as well as a more liberal composition seem to appear in her recent works. Such a change enabled the flowers and the ordinary objects to look more unsophisticated and to keep fresher sentiments.

is2_06.jpg In addition to the liberality and the plainness of colors, simplicity of object choice can be traced in her recent works. As the atmosphere of the canvass does not depend upon variety of objects, the restraint of objects within simple and plain things made the whole canvass keep generous openness and rich taste. The same evaluation can be applied in the her use of colors. One more artistic fruit yielded in her recent works is the natural harmony of the objects of indoor scene with the background space surrounding the objects.

is2_07.jpg However, Kyung Hwa Kim tenaciously adheres to drawing "indoor scene" in a consistent manner, particularly indoor scenes with flowers. Those flowers are not just inanimate objects, but something that occupies their own positions in the ordinary space of human life, especially in the indoor space. Kyung Hwa Kim remarked that flowers are the constant sources of fresh inspiration. This remark does neither seem to be a rhetorical utterance, nor mean that she likes flowers because of their natural beauty. Her tenacity of drawing flowers implies that she committed her desires of her life to the objects of flowers. Her restriction of the objects within the indoor flowers reflects her special affections toward her ordinary space of life.

is2_34.jpg Now, the paintings of Kyung Hwa Kim, being emancipated from all the artificial splendour, reflect her natural and unsophisticated temper on canvasses. They are the manifestation of her affections toward life and the ultimate meaning of the affections is nothing but the desire of Kyung Hwa Kim's inner heart, that is, "the Message of Reconciliation."

Translated by Prof. Youngmin Pee







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