Kim Man Hee
 
 
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 ±Û¾´ÀÌ : Kim Man Hee
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A Painting Painted with the Body, 'Colorgram' - Kim Man-hee¡¯s Recent Work [No Title]
Kim Bokyeong (Art Critic • Previous Professor of Hongik University)


Artist Man-hee KIM is opening a fair of March, succeeding in this January solo fair in Seoul and Tokyo. He literally enjoys a green old age with passionate and
abundant production over the age 60. Like mirth, his recent intention is packed with secret ¡®artistic desire.¡¯
Powerful brush strokes in his recent works express strong and technical colors with blank.
Here and there ¡®an attitude to make an experiment and observe color material is revealed as if a scientist deals with material, ¡®as he said. Big advantages are creating blank
and vacancy by one big tittle in white base or auxiliary tittles around the big one, or unintentional meeting of white and black pigments.
His recent works do not borrow artificial frames. Frankly speaking, he neglects it. Such as attitude of his only got clearer recently. Like the previous ¡®experimental¡¯ approach of black and white, he also shows a few limited elements such as high and low chroma. In his paintings, brush strokes are overlapped horizontally to create multi-colored
surface. Or thick ink is drawn from this one by dashing off with one stroke of a brush. With Dynamic bows crossing with straight lines while thick oblique lines with fine ones,
his works emit colors and fragrance, open cracks of vegetation or forest with passionate colors, and render smog and fog. Here that strange __EXPRESSION__ is. Strange
rocks and bizarre valleys are there to remind us of scarlet fallen leaves and the heart of mountains, as empty lake with rare human traces and fine riffles, slight shocks of
twigs or deer with black dots does.

In short, artist Kim Manhee¡¯s recent works fill the canvas and make blank, using weight and texture of pigments, physical technique as well as brush strokes. He focuses on
expressing colors, but unconfirmed stroke and technique form the frame to run the overall color tone. Such a way is contrasted with the overall formalism. He does not make
structure based on fixed frame bur make it as a gathering of strokes made by color material.
For stroke group, like power group for instance, small groups of the few colors make a group of groups. Its context is revealed in the process to form the overall group from
small groups. He makes the simple initiative strokal sequence by putting the initial stroke on a random spot followed by auxiliary ones corresponding to it. Next, he establishes anti?strokal sequence, informing the inverse relation with the initial sequence. Anti-strokal sequence is contrasted with the previous ones, considering the character of its
strokes.
Such trial was a little awkward in the early stage, but it becomes fresh and new as time flows. His recent works reveal such group and sequence more clearly. There simple
spots and strokes develop into more complex and thick ones.
His recent works are focused on contrast such as complex and simple strokes. Heavy and light colors, or brightness and darkness. In expressing such contrast, he tends to
emphasize on the latter one. Displaying those are uncertain all the time. A way to draw and overlap reminds us of pioneers¡¯ walks of lives. There are only bold stroke and
freedom. A careful and artificial process is followed to build stability, but there are also trial and error. The last form of them art not regulated but cannot be ended characteristically. Such __EXPRESSION__ is real experiment itself.

Such a manner of the artist to escape from the form is originated from his born-experimental attitude to observe the nature for a long time. In other worlds, abstract
expressiveness naturally appears in the process of transferring the emotion from the nature to the canvass or to make his sense externalize. It is not any bombastic
abstractionism in the history of art at all. It appears in his ¡®color experiment¡¯ from the beginning to the end. This means his paintings are both a calligraphy and a gram painted by his body. It is a calligram to make strokes and color sides, which is inevitably followed by abstract __EXPRESSION__ which is very natural.
Calligram aims at how to cover the both poles of chance and determinism in establishing the structure. Avoiding both pre-determined and un-determined ones, it puts off the
meeting of both to the future. It is tilted toward un-determined one up to now, but the artist is not willing to put Archimedes¡¯s spot on the opening with ease. Although this
intention works in subconsciousness like a dream, it takes much of experimental results of the structure consciously.
Because of this, his recent works make general symptoms of present and science clear. Especially, he has accepted any confirmed forms reserved or delayed by other artists
without hesitation, as of now 21st century. He also shows the process to make a group out of the canvas. Blank appears on the way to lingering imagery. A loop to link
emptying and filling is not needed yet. The group and chain of brush-tips and anti brush-tips occupy the best eventually.

¡®One-strokeness¡¯ has securely settled on its center. His recent works are characteristic that they draw one tittle at one breath with no repetition or amendment. Instead, he
overlaps thickness to reveal condensed appearance. Condensed appearance makes ¡®condensed mass.¡¯ which is positioned with following blank. Its style is traditional more like
ink-and-water painting than western ones. That is the reason why we can find out the sense of ¡®improvisation¡¯ at one glance.
Ultimately, his recent works make improvised emotion with sporadic one-stroke, triggering and mixing natural scenery. Both of emotion and scenery can really be considered
as two axes of his recent works.


April, 2010



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±è¸¸ÈñÀÇ ±ÙÀÛ Ç¥Á¤ÀÇ µÎ ÃàÀÌ¶ó ¸»Çؼ­ ¹«¸®°¡ ¾Æ´Ò °ÍÀÌ´Ù.

Haeran 20-01-10 14:14
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