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We can see eith the opening of the first Hwang, Young-Sook sculpture Exhibition in 1984 and the transformation that exhibition sculptures have undergone for the last five exhibitions, that today the days of expermenting has ended and a sense of one's own world has been created. That means that it is not only a problem of Christianity in matter but also a concept of seeing through the subject of sculpture and the transformation of the sculpture in form. We cannot also omit the variety of materials indeed, however, since it is a portion that one can select under different circumstances, one should not be greatly concerned over it. Nevertheless, it is true that the idea of mixing different materials together has received new recognition. Since the last three exhibitions on can fell that bibical subjects have been sublimed from a rigid form to a free-spirited from of art. It can somehow be misinterpreted a giving active life to the subject but it must be correctly seen as naturally expressing the religious dynamic force of the artist rather than tranclating it as an organic life matter that sprouts from the basic model of the human body which was given by formative experiments after Bracusi. In addition, we find that the arist has changed considerably in form her previous works. In the past she had suddenly omitted the parts that were not necessary or superflous to the theme of the realistic work of sculpture which created a tension of cutting the rhythmic flow of the artwork. Also, it was very different the primitive sculpture works which created a poetic aura through the omission in volume. We could also yet see the remains of the past by using image of symmetry which was shown throung the chandes in left and right and top and bottom. This shows that the work was not mainly influenced by the structure of the human body but by unification which comes from loving another of being confident of accompanying God finds its place as a formal concept of becoming once couple. "From Darkness to Light" is one of the respresentative exsamples. It tells us that when the larva breaks out of its cocoon and files freely to a new world of hope, it expresses the changes in the desirable attitudes of the human being or the changes of the heart. Thus, it is the dim sound of a small trumpet announcing a new birth through the Jesus Christ who is the true light. In works such as "The Praying Woman" or "Shy Eve" or "Quiet Hour", the postures, for instance, head bowing in humility or two hands gathered together are tremendously similar in form so that it secretly exposes the artist's basic state of religious nature quite deeply. However, the most remarkable transformation is that from a concentrated and simple form, the artist has more say in parts where necessary and seems to strongly express moderation in lesser parts. also, the artist has achieved rhythmic beauty by enlarging the contrast between strong and weak. This is a new form of deplore and experinmenting with distinctive tones and materials all indicate a remarkable transformation on part of the artist. It somehow shows changes in emotion which the artist enjoys as form and matter have matured. While we yet have to monitor the changes in the artist, we cannot but wait to see a higher level of comic gesture of the matured human body language. 1996. 5 |
