The Mountains and the water: Facing the surface of the boundary

Modern age’s landscape, the inner exposure



                                                                                                                                                                               <Jay Yang  _Curator, Theory of Art>

The trees from the fertile land shoots up against the lazy river to form the forest and the rugged mountain terrains with the rocks gathers together to draw the beautiful landscape. When the time stands still, the magnificent landscape is finally revealed above the surface of the water with the streamed moonlight. At the same time the boundary between reality and ideal is clearly obvious.


The new concepts with her unique interpretation regarding landscapes is based on the expansion of exposure area about ‘seen and unseen’ and that’s why the author could draw the beautiful landscape dazzling her eyes and the mind showing her inner side on the canvas.

There is no doubt that Kim, Yong-Won majored in Oriental painting is one of the finest authors in a black-and white painting area. As the tradition oriental landscape drawing has been contributing to the history of the ink-and-wash painting it can be expressed by the depth of ink and the painting capacity and we can get some glimpse of the reason why she chose the female’s lingeries as a painting material. As the modern arts’ uniqueness, like a Korean landscape painter, Kyumjae Jungseon(1676~1759)’ paintings, is expressed to overcome the current age, her material that gives a very similar expression of light and shade of ink could show freedom of expression. The opacity of the lingeries’ layers piled on silk is enough to replace the depth of the ink and the materials’ autonomy in terms of the form is suitable for describing the landscape painting.


With ‘Exposure’ as the center figure, Kim’s outlook has been expressed with the various angles and view points since 2012. This could be also compared to the clock which changes time due to the central axis and when you look inside we see the constructions of a minute hand and an hour hand differs as time flows while the clock doesn’t move at all as a form. Like the clock’s concept, Yongwon Kim gives a lot of effort on expressing temporal consciousness. <Mountain ; Exposure> introduced in 2013 and early 2014 is the foundation work that shows her view of the world including what works coming up next and is made by expressing of East Asia’s famous mountains and the magnificent landscape that was hard to see. <Inner Exposure> introduced in late 2014, on the other hand, Kim focuses more on the concepts unseen for her next work in 2015.

<Mountain, and Water…to Expose, The inner-boundary line> introduced in 2015, is the output for the last her 3 years work. This exhibitor doesn’t only show ‘the exposure of seen and unseen’ but also gives the message of something we’ve seen is not everything. The works before <Mountain, and Water…to Expose, The inner-boundary line> can be explained as the landscapes drawn by encountering face to face but <Mountain, and Water…to Expose, The inner-boundary line> completes this series by revealing the ideal covered by inner side and the reality with absence of the ideal which has to be expressed by not Kim’s eyes but the feeling and sense from her inner side.


Although the series showing the reinterpretation of Korean’s traditional landscape and the discovery of different view is completed, Yongwon Kim tells it is still continuous. Yongwon Kim’s intention- wants the audience to realize is that the exposure from the boundary of inner side – and the landscape is the part of the another process to the continuity with time axis. Therefore, this series still develops by the different point of each person’s view.


With the material based on the emotion of the Oriental painting derived from China, Kyumjae Jungseon developed his own unique paintings resulting in the foundation of Korean landscape. I am very confident that Yongwon Kim’s effort and the outputs should be the important examples for reinterpretating the modern oriental paintings.