Scene of an Image from a Drawing Perspective
Kim Jong Geun(Art Critic)

Drawing is an important expression element of painting in modern art. Also called “sketch,” “the act of making marks on a surface to create an image, form or shape” or “dessin,” drawing may be considered as a means of a preparation for a painting or “base painting,” however, it is defined as “a process of grasping vitality of a model intuitively through observation requiring concreteness and expressing it as life and vividness.”
In particular, expression of a human body constructs the screen with basic lines and composition, by which the essence of an expression becomes possible in the end.
Somewhat uniquely, drawing of Yu Min-jung is based on such basic sensitivity of drawing like this. Her autobiographical expression, “all my pictures begin with drawing”, tells of this well. As she mentioned, basic life of drawing is lines showing emotions.
That is because “lines determine everything and sustain all the senses.” Sometimes, shape and image of lines may be far more important than colors, which are core to paintings in general.
She focuses more on showing the shape and sensitivity of a thing with lines, rather than on colors. At first, her paintings look as if unfinished or too thinly colored, because she uses almost no pigments and expresses so coarsely that they look simply like a drawing or a sketch for a painting.
She sees this as an impromptu artwork effectively delivering unrefined natural, pure primary artistic sensitivity.
That is why her paintings look free. They are liberal, without any fixed composition, landscape, or motif. A distinct feature is seen, though; that is, freedom of unrealistic landscape.
Her paintings based on this sensitivity of drawing display an illusion of a bit vague visual image and are visually unrealistic particularly in composition or description.
Extremely exaggerated face of a woman. She experiments how to express only with drawing a single objet, such as a big flower and other objects, a cup or water bottle on a table.
Like this, in her paintings focusing on the sensitivity of an artist, rather than colors and composition, image coexists with lines. For example, distance of a background and shape is not considered at all or the division is vague, but lines determine it.
In this way, through a space of antinomy looking as if a plane remains a drawing, her images are like a play giving pleasure from new landscape, which is varied. There is landscape of a street on which elephants or many houses stand.
They look like even an illustration, but her interest is in an objet.

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Various objets such as a cup or vase easily found around us which she loves transforms, as in a painting of Escher where a fish becomes a bird flying in the sky in a flash. Her paintings reaffirm the relationship with others that everything in the world is connected with each other, so if one is missing, the other is nothing at all.
Of course, neither background nor image is different. However, Yu Min-jung is not indifferent in the relationships with ‘I’ and everyday life. At the center of the interest is relationship, and image serves as a good tool to show this philosophy.
She in this sense helps image infiltrated into relationship, in the form of the shape of image, rather than message, through background of silhouette rather than shape.
We see the landscape of a street down from a higher place, but find a relationship left as an objet.
According to her, she dreams of “I” and the world having a relationship with “me” through characters and various objects in her paintings, in our society entangled with complex personal relationships. She realizes her own being in society where everything happens in relation to me.
She expresses landscape of this relationship in a simplistic and exotic way. Especially, in color expression, she uses light pastel-tone silhouette images of extremely limited colors.
It is her dream. For now, it is uncertain that it has a symbolic role to arouse subconscious desires or fantasy of her or us, but she simply hopes so. In this manner, landscape of Yu Min-jung as a new painting language has its own use, role or unique indicative meaning. However, it is clear that her objets deliver associations or novel effects, which we’ve never experiences, rather than their own uses or functions.
It is like a way for human beings and things as an objet to communicate with each other. She aims to complete such human relationship with objet drawing. It is the realization of virginity of primitive sensitivity given by incompletion and pure artistic sensitivity that is interpreted as the essence of her art.