Page 21 - 권숙자 개인전 2025. 10. 1 – 11. 15 권숙자안젤리미술관

From those birds, I learned the laws of survival, the mysteries of life, and the wonder of all living things in the universe.
They taught me how to move from the boundary of death toward the garden of life.

Section 3 – The Cheongdeok Era
“O beast with large and sorrowful eyes!”
Just like the poet’s line, when I climbed the hill across from Cheongdeok House, I saw deer that had lost their antlers,
their sad eyes glistening in silence.

Meeting those noble-eyed deer transformed my painting. The sorrowful image of deer stripped of their antlers began
to fill my canvas. My relief (부조) techniques deepened—creating new antlers, I painted deer carrying Adam and Eve
upon their backs, running freely through nature.

This represented the human yearning for freedom—and the deer’s own longing for it.
The theme of Adam and Eve symbolized the harmony of man and woman, the primal balance that makes the world
beautiful and alive.

Through those antlerless deer, I learned to sublimate my wounds into healing.
From that time onward, Walking Through the World became the guiding phrase of my life.
My every encounter—with people or with nature—became a walk through the world, a spiritual journey of connec-
tion.

Section 4 – The Mukri Era
The Mukri Era is a time of love and fragrance—of lakes and ducks, of life that blooms, withers, and revives again.
At sunset, as I face the deep hum of dusk, I feel a solemn reverence for life itself.
In my paintings, human figures grow smaller within nature—becoming infinitesimal, a symbol of humility before life
and the vastness of nature.

When I awaken, the forest resonates with the symphony of birds—a masterpiece that stirs my hearing. Watching the
sunset, I feel the burden and blessing of using my remaining time meaningfully.
From Angeli Castle, I see and hear beauty—tender, nostalgic, and achingly human.

Mukri, nicknamed “a small Gangwon-do,” is a valley filled with artists who gather at Angeli Castle—creating and con-
versing in scenes worthy of a painting themselves.
Though Mukri holds wounds as deep as the blue sea, it is also a place where love, sharing, and hope light the cultural
flame of the future.

In this era, my canvases embody harmony between nature and humanity through low relief, mid relief, and full relief
techniques.
For without nature in human life, we are dry trees without moisture—and without humans in nature, life loses its
vitality.

In Mukri, I have learned the power of love—and that within the harmony of nature and humankind, the human breath
grows most alive.

My artistic journey—through the Uwang, Cheongdeok, and Mukri eras—continues to transform. Every human figure
and object that enters my canvas evolves as my life and art flow onward.

21