Metaphor utopia and tableau vivant led by the flower path

Sungho Kim (Art critic)

In Kang Hye-jeong's painting, you can see a white horse walking gracefully through a natural forest where flowers are blooming brightly. It's sometimes a horse or a pair of horses. They are walking leisurely through the forest. Sometimes he kicks vigorously as if he was about to start running, or sometimes poses as if he was about to stop running and stop to catch his breath. After the day, they are taking a quiet rest in the forest or talking about their love for their partner in the flower garden.
The background of horses playing is the scenery in a pile of flowers full of fresh grass and bright flowers. The scenery is beyond bright and fantastic. In it, the audience recalls stories of tales and myths read as children and gradually infiltrates into her paradise filled with a world of metaphors. Painter Kang Hye-jung's solo exhibition theme, "Let's Walk Only on Flower Road," began like that and continues to this day.

I. Tablo Smear Embracing White Horse - Mijangsen of Pose  
 
The graceful and dynamic movement of a pair of white horses sitting affectionately on the canvas comes to us in a state of stillness. It even makes me feel as if they are pausing for the audience. Painter Kang Hye-jung temporarily stops the movement of horses, the fall of flowers, the shaking of grass, and the wind, and invites the audience into the paradise of nature she created.
Painter Kang Hye-jung embodies the world of Tableau vivant for the audience by turning her paintings into a state of silence and pause through "pause of movement." The French term "tablo slur," which is translated as a live painting or "living painting," refers to "a person's production of famous paintings or famous historical scenes in a still state." In particular, it appeared as a play for adults in French salons and European banquets in the 19th century, and later in the 20th century, it was also popular in the genre of theater and performance art, and its origin was painting.
In that respect, the world of "Tablo Slam" that appears in Kang Hye-jung's paintings seems to be "a painting based on painting." For example, in her paintings, the situation of the horses of Franz Marc, an early 20th-century blue-gi painter who often painted horses, seems to be standing still in her paintings. But the audience soon knows. Her words are imaginary words that came to life through the famous paintings of classics and through the world of mythology. And the pause in her conversation is the product of a conversation in which "painter Kang Hye-jung" and "the words she drew" were closely shared with each other. Their figures are elegant, dynamic, and sometimes seductive.
The movement of the foot that is walking slowly with its head down, sometimes raising its head to make a leap forward, and sometimes the expression of looking at each other and stopping the movement for a while spread gently throughout the screen full of bright colors. Behold! A feast of colors filled with pink or blue in the background to bleach the front and back of a white horse's silhouette to a brighter white color than the horse's skin or to reveal the horse's skin color. The background colors of stark contrast sometimes penetrate the clear skin of white horses, or the white and transparent skin color of white horses gradually penetrates into the dark background. In other words, Kang Hye-jung's intense mise en scnene, who demonstrates the aesthetics of contrast with clear brightness and chroma with white horses in between, revived her horses as the existence of vitality. In other words, through the aesthetics of feast and contrast of vivid colors with high chroma, the existence in "Tablo Slaughter" is revived as life. The white horses on the screen are only temporarily stopped, but they are saved as mysterious creatures living in myths or as "animal vivant," or "animal vivant." Kang Hye-jung's elegant and dynamic words were born that way.

II. Utopia of Metaphor led by Flower Path - Intervention of Narrative and Summoning Memory  

Her painting is based on the concept of "Tablo slander" through "The Rhetoric of the Pose" and "Approvision" of speech and immovable movement. In other words, not only does it reveal the meaning of "pause of rest and pause" by taking "silence and pose," but it also encompasses the spirit of unique form as well as the form of tablo slur in one's paintings. Just as "posing" means an outer posture and an inner attitude of "mindfulness," her "posing rhetoric" also means a form of language and includes the content it contains.
So what is it about? The metaphor of the flower path and the narratives of myths and narratives that lead to utopia. The word "flower path" that is talked about today metaphorizes a "path of life" filled with positivity without troubles and difficulties. It is the way to shake off sorrow and worry, and the way to defeat hardship and hardship. Flower Road is a metaphor for overcoming difficulties from the past and assuming future hope. In Kang Hye-jeong's painting, the metaphor is embodied as a white horse that walks and plays in nature. In particular, flowers blooming against the backdrop of nature where birch trees occupy tight space embrace white horses, embracing bright colors with high chroma and brightness. Throughout her paintings, green-colored blue, pink-colored brightness, and yellow-colored warmth are melted together. This scene is recognized as an impossible paradise, ideal village as a paradise, that is, utopia.
Yes, our reality cannot be full of joy and pleasure. The reality of our lives is full of distress, pain, and sadness, and joy and joy of the moment squeeze into its dense place and breathe occasionally or often. Today's reality is more like a world of lost paradise (Paradise Lost), which always craves a lost paradise, but rather a world of dystopia. However, let's recall that utopia or dystopia is an extreme world that does not exist in the real world. Painter Kang Hye-jung wants to comfort the audience by inviting modern people to her utopia, who cannot reach between the two worlds of the theater but continues to live between them. It is to invite the audience to the journey toward Paradise Regained, which is to visit paradise in the "space of present life," which has been considered as a "paradise paradise."
There is a world of myths and tales that I have never been to. It is a space where the magical power that wakes up the spirits sleeping in everything and makes them wriggle works. It is a space where microscopic and fantastic stories of natural beauty are unfolded around a pair of white horses. It is not the time and space of the car that we have experienced so far. It is a world of utopia full of bright lights assumed to be a refuge. Its time and space is a world of water activities unfolding in the dream time that has been sprinkled on traditions, tales, and imaginations from all over the world.
Kang Hye-jeong combines her recollections into this world of imagination. In other words, it is to summon your childhood experiences and memories to the paradise world. The fun half-day walk holding her sister's hand in the flower garden, adventure-filled play on a tree while playing with boys in the neighborhood, and the exciting experiences and memories of riding on a swing on a tree are recalled and mixed in a dream poem. It is a 'beautiful world' created by the blending of past tales and myths with their long-awaited childhood experiences.

III. Epilogue

Painter Kang Hye-kyung does not hesitate to work hard to create such a mysterious and fantastic landscape in her paintings. She makes her own paints for her paintings. In order to guide the audience to her paradise, she experiments and experiments with the making of paints that promote stable coloring and brilliant coloration. Her multi-faceted efforts to maximize the effects of thick texture and gloss are painful, but it is soon replaced by the joy of creation.
Kang Hye-jeong does not hesitate to experiment with various forms. Her paintings, which permeate various formative experiments such as "Impasto's Positive and Scratch Negative, Stroke's Brush and Complementary Screen Contrast, Combination of Symbols and Metaphors, and Intervention of Miseonsen and Narrative," invite audiences living in harsh realities to her paradise today. Painter Kang Hye-jung whispers quietly to the audience as she invites the audience to the fantasy world of tablo slurring, which brings the movement of the soft and dynamic horse to the still screen, and the mythical world that summoned tales and memories of her childhood. "Only walk on flowery paths now."