Page 5 - 몽골작가 문크진 초대전 2023. 2. 1 – 2. 11 장은선갤러리

As if hinting at the presence of life on the quiet horizon.

On the other hand, the cloud cover over the grass, desert and steppes looks very lyrical. If a shepherd
on a horse appears on it, it seems that the beauty of the steppe will increase. It does not end there. The
fresh air and the sunrise and sunset sky are breathtakingly beautiful. His illustrations add color to the
beautiful nature of Mongolia and simplify the shapes to create a fantasy that is completely different from
the everyday images. The reason his paintings appear surreal or transcendent is because he omits the
necessary elements in the landscape other than animals, including human. As for the image of a person,
it seems to indicate a double meaning. The sense of ambiguous form is related to expressive techniques
that rarely uses lines. A non-linear expression is also not flat if it is said to be flat. It can be seen that he is
using a unique expressive technique, which seems to apply paint by tilting the brush to the side.

Of course, there are quite a few works based only on the steppes of Mongolia with grasslands and the
horizon. However, in works about people and animals, the background is often omitted. Small trees may
be too small to be the material`s of the paintings. For some reason, the scene of the Mongolian steppe,
where there is nothing but people and animals, cannot remove the feeling of loneliness. But that lonely
atmosphere seems to be erased by the sound of the herdsman calling his cattle in the distance, the
sound of galloping horses' hooves, and the sound of a Mongolian traditional song (urtin duu) that can be
heard from anywhere.

His paintings use primary colors, but with low saturation and high contrast. A preference for neutral
tones can be effective in creating an unrealistic and dramatic look. Because white is a mixed color,
color development is inhibited and the tone feels soft. So the general impression is clear. Depending
on the nature of the work, saturated primary colors are used, but the form remains unclear. Feelings of
ambivalence and ambiguity may reflect a need for personal form.

Above all, the sense of proportion is unrealistic. Unrealistic depictions of humans or animals are often
used to explain fantasy. Because it is a field of representation as a formative interpretation other than
reality. Distort the shape piece by piece to create only its own shape and color. Thus, the morphology of
the material becomes unrecognizable. Because it studies unconventional aesthetics. However, if you look
at it through an aesthetic eye, you will immediately be drawn to the beauty of the unreal form. His own
sense of form, that is, of shaping and transforming, awakens the spatial existence and value of the image.

His paintings contain the emotions of the beautiful nature of Mongolia and the life of the nomads who
have absorbed into it. Perhaps the blurring of shapes is to give more meaning to emotional imagery. In
fact, the impression I receive from his paintings is a sense of reaching a transcendent world other than
reality. His paintings are an expression of his desire to realize a world view full of dreams, love, happiness,
peace and romantic emotions.
Translated by ANARA Munkhjin (Ph.D)