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It seems that the modern Korean sculpture may be possibly classified into three kinds of trend. That is, an academic trend to be faithful with the idea of traditional mode since Greece, and a trend to experiment modern forms since Brancusi, and the sculpture with a genus which had staged in the later part of 1970s. And, whether the sculpture of genus can be included in contextual sculpture or can be regared as the objective are of Moral Duchamp's line, separately devided, the point is still suspended in a fervent discussion. In the seat of discussing some artist, it is an extremely common sense that to decide what sort of trend the artist will be possibly belong to, is preceded, because such a determination of "Seat" nedds to trace not only the position occupied by an artist in the total phase of Korean sculpture, and also, relations with the whole. In this point of biew, the works of Whang, Young-Sook seem to be included in the second definition of the three kinds of artistic trend, i.e., the experiment of forms since Bracusi. Such a trend toexperiment forms, since the Second world war, has been clearly devided in two directions, compositionalism and life-ism, and on the whole, the modern Korean sculpture can be pointed out to be apparent in the trend of vialism, and Hwang, Young-Sook can be also included in this trend. the vitalism is titled as it pursues a theory of organic, generative formation, and it certers on the realization of interal energy rather than an external expression. This case of definition of the life-ism is properly paralled with a statement by Henry Moore, "There is a technical difference between beauty of expression and power of expression." While the beauty of expression centers on delight of sence the power expression can be regarded to center on spiritual, livung power which is emotional and profound rather than sensual, and therefore, vitalism can be regarded as a title of the creation of form based on such a point. Hwang, Young-Sook's previous works-specially some wooden sculpturewhich impress most are considered as what changes on surface rather than on mass and accents on detail rather than on the whole sculpture are used freely, than tensional state of volume and surface is pursued. However, in case of that the tensional state of volume and surface are collapsed, for concentrated, there appears some stain that beauty of expression rather than power of expression is fell into. Her recent works show a countenance to be concentrated of the subjects of the whole mass and structure rather than those of surface, and likely impress that the theory of strong vitalism, sometime along with the compositional theory is being implied boldly. That is, to make tension while surrounding the whole mass in organic rhythm and volume, sometimes as making a crystal cut boldly. The vitalism that her works show, on the whole, opperessed feature, suggestive image, naive reducing cognition, etc., can be regarded as what of keeping with Romanesque weight. In partcular, such a power of life is thought whether to be caused by the wooden sculpture which she handles with a deep care, or not. That is, because while the flow that the quality of wood has and the character of interruption are realized as a power of life, a moderate creation of feature is being formed. It seems that, while selfishness and greed are termainated, a natural and human element is going to decide direction of her works in the future. 1989. 3 |
