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and implies all colors, and white, which has no colors, have the same thought
and simplicity at the same time.”

As can be seen in her monologues, Kim Youn-hee was immersed in the epi-
gram-style sentence of American abstract artist Adolf F. Reinhart. Most of his
works are also black paintings. Of course, he is also into white monochrome
paintings recently. “Art as art is nothing other than art,” is his very famous
epigram. Kim Youn-hee’s ‘monologues’ and Reinhart’s ‘epigrams’ are inter-
preted in the same meaning.

It can be said that the mental background of her work is not irrelevant to
Sigmund Freud’s ‘unconscious mental world’ and Carl Jung’s ‘meditative un-
conscious concept.’ In this way, she tried to find the symbolic image in her
painting in the ‘meditative concept.’ From a Western perspective centered on
material civilization, this idea became the basis of the ‘Korean Monochrome
Painting,’ in which the spirit of Eastern thought and idea emerged as an im-
portant new alternative. Eventually, modern art faces a phenomenon in which
the search for new expression methods and the creation of a new aesthetic
are required. Accordingly, in contemporary art, while restraining and simpli-
fying colors and composition, the influence of the oriental thought of ‘Non-
doing’(Wu wei) and Buddhism’s ‘voidness’, emphasizing the (blank) space and
spatiality of the canvas surface appears. In the end, it seems that the back-
ground of the purity of Kim Youn-hee’s paintings is that these oriental ideas
are accepted as the background of the embodiment of aesthetic value. In other
words, this concept is accepted and expanded in the painting of her spirit, and
physicality and media overlap, and they are dissolved in the image of the work
in the form of coincidence.

The signs in Kim Youn-hee’s work are arranged throughout the work, ap-
pearing in symbolic and lyrical images, and conveying implicit meaning. The
‘Flowing’ technique and the ‘Automatism’ technique, which she borrows as
expression techniques, are applied as formulations that constitute the canvas
surface with freely intended physicality. As can be found in her works and
text abstractions since 2015, she was also fascinated by the ‘language’ and
‘ideology’ selected as alternative methods of ‘object art’ in the early 70s as
alternatives to ‘art’ and ‘statement.’ These linguistic descriptions are likely to
be determined as representations of black monochromatic painting.

Barbara Rose, an American critic, cited the social background of the United
States at the time when people preferred the aesthetics of simplicity and mod-
eration and minimalism music as one of the most important reasons for the
rise of Literalism. According to him, unlike Europe, American art had no clas-
sical roots, so the mainstream of American art was fundamentally popular and
factual tendencies that met the needs of citizens’ tastes. This popular and re-
alistic taste, combined with the progress toward the ‘literalness as the way it is’