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Chon Byung Hyun: Artist Note ‘Blossom’

The governing philosophy of Joseon’s neo-confucianism continued for
600 years. It continued to go through changes to suit Korea and turned
into a sort of pure philosophy at the end of the Joseon Dynasty
(1392~1910). However, during the Japanese colonial period, painters
indiscriminately accepted western philosophy and new culture even
before they became aware of the pure and substantial meaning of its
paradigm. Since then, it would seem that many artists have been painting
in the absence of originality and notable individuality in materials and
techniques.

During my years of study in France, I have never forgotten for a moment
the longing for my hometown in Korea and the nostalgia for the East. After
much struggle and effort to seek the dynamic interaction between the
past and the present in Korean art history, I would say I was able to find a
fundamental answer to the connection, albeit faintly.

Simply put, “Seongsasimje” (性師心弟) means that ‘the universe is the
teacher and the mind is merely its disciple.’ This meaning is deeply
engraved in my heart. In other words, the essential primitiveness and
aesthetics of all things and materials can be found in the universe,
revealing the mystery of the beginning of all. That realization, along with
my pen name “Ssakgong”, has become the motif of the ‘Blossom’ series.
The term “Ssakgong” means the moon in the night sky that waxes and
wanes.

The full moon expressed as a monochrome white porcelain jar,
colloquially known as “Moon Jars,” represents the most oriental sentiment.
The countless stars in the night sky symbolizes the flowers that bloom
beautifully in my heart. The moon and numerous stars that coexist in the
universe bloom in our hearts as a “Blossom” or a flower in full bloom on
the canvas.

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