평면조건-부분
[Choi Myoung Young Paintings]1975~2015년③-1
Dansaekhwa:Korean monochrome painter CHOI MYOUNG YOUNG-The rhythm of nature
Once he faced the canvas without formatively thinking of a “structure,” his artwork went outside the Western notion of a “painting,” reaching the horizon of a “plane.” Nonetheless, if one were to ask whether this horizon was completely irrelevant to “painting,” this was not the case.
Rejecting Western art, it is outside of its realm; however, he captures anew the origin and current state of painting and his humanistic being. What he instinctively understood, when letting go of a ”structure” and adopting this method of painting the canvas flatly with a single color, was that such “action” must be repeated.
“Nature” repeats itself. He attuned the act of painting to this rhythm of nature, synchronizing with it. Then, he repeated. It is not a matter of principle or concept, and, therefore, there is no meaning unless he realized this with his body and sense by repeating it. This, in some sense, is like sports lessons or the ascetic training of a Buddhist monk; in other words, a matter of practice, and, therefore, requires time. No effort can be spared.
I believe it is clear that the “action” itself is not Choi’s central focus. The reason he indefinitely repeats is, at the end, to not have to repeat having to repeat. Nature repeats itself the same every year, and, yet, repeats not exactly the same.
Conditional Planes(평면조건)8508, 140×75㎝ Oriental ink on korean paper, 1985
This is what he focuses on. The repetition of the same thing, for him, is an accumulation of “differences.” At the same time, the repetition of the same thing submerges and subdues the “differences.” By so submerging and subduing, the act and effect of repetition are purified. one can no longer see any “differences” on the flattened surface.
Although you cannot see, you could still feel. Thus, in terms of “structure,” one can say that a new “structure” is created here. This is different from a “structure” in the conventional sense, but can be said that it is “something that has been mentally and sensuously structured.”
Although his works are two-dimensional, the “repetition” creates a type of “structure.” It is more powerful than a haphazard traditional “structure.” For reference, Choi is not imitating nature (i.e. mimesis), but is only aligning to the rhythm of nature.
An Oriental man named Myoung-Young Choi is born and exists as part of nature, within nature, as nature—it is only that Choi is naturally, yet consciously, conforming to this.
△Shigeo Chiba(千葉成夫)/art critic
△2020년 1월1일, 이코노믹리뷰/정리:권동철