Page 33 - 권숙자 개인전 2025. 10. 1 – 11. 15 권숙자안젤리미술관

The changing trend over the next five or six years is even more astonishing, an event that must be acknowledged. It is
bewildering to try and interpret the factors behind such a radical transformation at this stage. To break away from an
existing style and transform requires not only a firm conviction in one’s work but also, ultimately, a logical foundation
of [self-negation].

A shift in position, what could be called the second transformation on her chosen path, is evident in her recent works.

In the ‘90s, the artist creates and presents a completely new and ingenious, unique world of art.
The veil of contemplative nature is removed, and the inwardly bleached nature is transformed by the mechanism of
imagination into an entirely separate fantastical space.

This imaginary space, which could be called the world of dreams, is also the artist’s inner Ideal Realm (理想境).

It is a world of paradise that progressively unfolds, becoming more fascinating (漸入佳境), sometimes with the inter-
vention of religious fervor—a transcendental realm of the other shore that can only be grasped with the mind’s eye (
心眼). Stylistically, it is a kind of naive painting, employing an archaic brushwork that is almost crude, having eliminat-
ed all realistic, descriptive techniques.

Mountains, trees, figures, and animals are arranged compositionally, yet none of them are perceived as realistic land-
scapes. The screens feature themes that can only be described as an imagistic (心象的) landscape, where groups of
naked female bodies (people) are seated, and the sun, deer, and occasionally a church can be seen. All living things
are celebrated, and they are woven together on a single, fantastical axis. They contain both the playful innocence of
folk art and metaphorical symbolism.

The artist may be attempting some kind of biblical suggestion through her recent works.
It remains to be seen how this new [Chosen Path], which is nothing short of self-innovation, will continue.
The shift in artistic style, which was pushed to the point of being radical, is only the initial gateway to self-renewal.
The artist’s world of work faces a determined challenge. The exploring zeal and the will to transform that flow beneath
her work are quite admirable.

The recent world of the artist’s work, which also possesses a considerable literary inclination, answers her following
inner cry:

[As much as I love, I am born / As much as I am born, I despair / As much as I despair, I die / As much as I die, I resur-
rect.....]

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