When I appreciated Lee Geun-hwa’s paintings, somehow I could felt energy wriggling under the canvas which would be condensing and soaring someday. I wondered what the source of the energy is. Was it amusing for her to paint a picture or couldn’t she resist painting a picture? Perhaps both are right. I thought her transcendence and abridgment were daring at that point when she painted ‘Lotus Flowers’ through a series of ‘Anthem of Nature’. Of course, her talent of dealing with light went beyond a certain realm.
In particular, ‘Anthem of Nature – Memory’ (The 6th Private Exhibition, Insa Art Center, 2007) made viewers trembled through a gold echo of brilliant lotus flowers going toward the dark of sunset while trying to exert their last strength. The flowers were an over-mature freedom itself. As if showing a group dance of birds with long legs against sunset, they seemed to sing in chorus the brilliancy of sunset.
It was telling her superconsciousness. Her flowers thought that leaves now wanted to fly. Gold light symbolizes eternity. Lotus works moves from unconsciousness to consciousness and at last to superconsciousness. Although a shadow of darkness casts little by little, a gold color opposed it equally. It was a fight with light on the surface.
Until that point, it can be proper to say that she controlled herself properly with her superconsciousness. Opposite poles attract each other. One day when I met her, she told me that she wanted to paint the sea. Isn’t the sea unconsciousness? Originally, superconsciousness and unconsciousness seem to far away each other when looking from consciousness but when turning back, both are placed just on the border. On second thought, her superconsciousness had already contained about half of unconsciousness.
The works of ‘Submarine Flow’ introduced in the 15th private exhibition look to declare the fact that she just began a long journey from superconsciousness to unconsciousness. She was in explosion. Last summer, she challenges scuba diving in Cheju Island for a new world. Sometimes she submerged for one hour. According to her expression, there was ‘another marvelous world where things live just as human being on earth’.
. ‘Submarine Flow’ (162×112cm), her biggest work introduced at this time, was enough to overwhelm viewers by a school of small fish found in the ocean floor and its spirit swirling along with the flow under marine. Furthermore it has a 3D look. She painted over more than ten times on the paper and made it stood on the background to express submarine energy.
The depth, strength given off by a 3D look and a versatile use of an acryl oil painting were outstanding. The images in the sea showed a reconstructed screen, not an image of nature as it is. She adopted a red color of coral and a green color of water plant and configured the canvas with multilayer technique.
The works submitted to the exhibition are on the border between figurative and non-figurative art. They may be called figurative art, dare I say it, but bear comparison to say non-figurative art. Perhaps her journey into the sea and unconsciousness will be continued. The sea occupies three quarters of the earth. Till now she has remained in one quarter and now challenges the rest three quarters. Till now she painted the dark in the light but now is going to paint the light. Her skill to manage the light in the dark is looked for.