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Big title : Before time (The beginning)

subheading : knar_forest fairy

material : soil on canvas

size : 112cm x 145cm

The scenery where the early morning showers briefly fell and then stopped,

A blade of grass that was lying in a bright and clear landscape rises

The moment the creatures such as grass bugs and squirrels hiding from the rain stick their heads out,

A scene where a fairy is listening to the sound of that moment

This work was drawn year 2016, and it is not an exaggeration to say that it is a representative work that condenses and shows the present in the art world of Dojoong Jo.

 

This work can be said to be a work that not only captures all the characteristics of the process of change since the entry into the'earth of painting' mentioned earlier, but also shows the part of the'originality' he constantly pursues

 

The picture is composed of large vertical lines that are inclined from left to right-like a tree trunk in a forest. In particular, the sloped lines on the left side of the figure have a relatively large oblique angle compared to the right side, and the slope is complete. The slope is perceived as a deformed form in a general basic position such as vertical and horizontal, which imparts strong directional tension. The trees in the work, which are treated as an aggregate of oblique units, give the whole picture a sense of movement that stretches out with tension.

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However, the square shapes starting at the top right start to break the vertical lines. And, increasing the brightness, he advances to the center of the work. Straight lines turn into curved circles, and instead of horizontal lines, vertical lines clearly cross the center. As a result, the whole trunks extending vertically are completely out of balance at the center.

 

 

It is difficult to walk on one foot. Maintaining body balance is a basic human need. The universe itself aims for a state of equilibrium and tries to exclude asymmetry. Therefore, we are bound to show a psychological phenomenon that seeks a system of balance and stability out of imbalance and instability. In other words, we take "constant action in the imbalance" to restore balance. In this process, we constantly draw energy from our surroundings to walk, run, think, change, and create something. In a way, it can be said that the power emitted to satisfy these needs is a beautiful “power of life”.

 

To me, the disruptive change in the center of the work seems to be a vigorous movement in the imbalance. If art was only concerned with the presentation of harmony and balance, the vertical inclination would have been repeated in the center in an orderly manner, and the friction of disharmony would have been minimized. At the same time, however, the work in which the fighting element against the opposing pressure disappeared would have lost its dynamic “power of life”.

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At the bottom right of the work, we find a cute child's face looking out of the forest and we feel amazed joy. The protagonist of this bright face must be a'fairy in the forest'. I mentioned earlier that sunlight and moonlight, rain and fog, the wind passing through the trees, and even the forest fairy seem to be helping the paintings during the recent illumination. That very fairy is appearing here.

 

Shape is one of the essential features of an object captured by the eye, and it can be said to be the outline of a two-dimensional surface of a shape. The plane is represented by a one-dimensional line. In this painting, several lines form the shape of the face. The contours of the edges of the face are virtually absent. This is because the face with relatively high brightness is showing its own outline compared to the surrounding forest with low brightness. However, with just a few lines, the clear and bright face of the child is accurately depicted.

 

The appearance of an object is not determined only by the image reflected in the eye. The hidden and invisible back of the ball is completed by extending the front two-dimensional shape visible to the eye. Therefore, we do not see only part of the ball, but the whole three-dimensional sphere. Moreover, the knowledge of the object is closely tied to our observations. We are well aware of what children look like in general. Thus, looking at the face of the forest fairy, we can see the entire cute figure of the child.

 

 

In this painting, the formative method of the shape of the tree bark is certainly abstract, but the child's face is a conceived expression that anyone can recognize, and the forest fairy who suddenly appeared in this way gives a fresh vitality to the painting with its unexpectedness.

 

 

The appearance of a fairy that breaks out of the formalities or deviates from everyday perceptions is not'static' at all. First of all, it is because it generates some kind of attraction that catches our attention. In other words, a “dynamic” force is working. That doesn't mean that the force's movement is violent. The child's pure face, who quietly looks out of the forest, makes the surrounding hues more subtle and gives a sense of mystery. Thus, we even feel the breath of one delicate soul. In a word, this work is a subtle mix of tranquility and vitality, in perfect harmony with tranquility and dynamics.

The tension and dynamism of power rising from the soil of life

Byung-Tak Ho (poet, literary critic)

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