Meditation in space between dots _ Hyuk KWON
By Kwanhoon Lee, curator of Project Space Sarubia.
A drop of water combined with a fleck of dust 4.5 billion years ago when the earth formed might be the source of a vast sea today. Drops attached to a myriad of flecks of dust like dots are the departure point of artist Hyun Kwon’s work. The artist discovers her path by stitching these dots, one by one. The dots are holes through which threads are stitched. The thread is coincidental, but is within an inevitable relation.
Kwon has presented many results using dots as a departure point and contemplation of water. A place Kwon unfolded her imagination was the sea near Venice in 2007. Daily she embraced scenes occurring on the sea from other’s perspective, unfolding her meditative imagination. Boats on the water appeared like urban transport such as cars and buses. However, she felt this was also unfamiliar, and accepted it through her eyes ideally, so it eventually appeared in the form of energy, the water, men, animals, mountains and wind.
Her enlightenment is represented in painting. Many objects freely move in space-time, relying on her subjective perspective. Humans and animals enter relations with water and wind. The through of the artist who wanted to embody the flow of energy that at first seemed unfamiliar; the moment Kwon changed the way she understood things, she gave free rein to her imagination as if journeying on the water. Humans and animals are traces of the artist that connect with water and wind, but soon comes to another places, then leads the water to somewhere at the border. Then it divides into two, causes a wave, then disappears, and then once again is divided into many and more dispersing viewpoints.
In fact, it varies according to different viewpoints. That is, it plays the role of converging expanding different viewpoints by connection the borders of the water, the sea that the artist was unaware of. From the 1st viewpoint to the 2nd expanding to the 3rd…….,and when crossing the boundary it transcends all time and space. On screen, the artist attempts a course towards multi-point, beyond a vanishing point and perspective, from an energyscape point of view to represent the possibility of change.
It is hard to take a theoretical approach to energyscape. In between human beings, Ten thousand Things and the seven emotions joy, fright, anger, worry, sorrow, fear, and grief are mixed, and invisible energy is innate their relation. The artist’s trace, from the experience of thinking, beings as an observer of invisible energy, the functions as an assistant in controlling and coordinating space and object. Kwon continues to draw the changing landscape with time and space and will now face a move towards the intuitive world where the body changes its constitution to walk, experience, and remember.
The artist felt the gaps in our busy and hectic contemporary life while looking at the Venetian water. Points that are ephemeral (like water) immediately converge and disperse; singing the transience of life, whereas artistic eyes emphasizing life is metaphor for that sea. Working in sensuous, emotional language, Kwon has nothing to fear. She executes work touching raw sensibility, replying to fundamental questions about invisible energy.