PARK JONG JU

“The significance of one's work”

( Transition from abstract to impermant )

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The classical and historical understanding of art painting was generally "forward facing," by employing symbolic or blunt imagery that induces an emotional response and empathy in the audience.

The weakness of works of art in this “forward direction” form is that the audi-ence's consciousness and feelings are too overwhelmed by the artist's personal thoughts, which appear like keywords, and that the audience is trapped within the framework of the sound and shape of the object presented by the artist.

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In contrast, the author's works exhibited in this exhibition induce the audience's imagination with irregular lines and dilapidated images and then attempts to persuade the audience to visualize unique perceptions differing from the object provided by the author in a pictorial way.

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The arrangement order of the exhibited works also takes a forward direction form, progressing from“consciousness” to “color and shape” again from the forward direction form.

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The most significant characteristic of this kind of reverse painting is more clearly revealed in modern painting. When the abstract concepts of point, line, and plane, which started with Kandinsky and Klee, are converted into plane, line, and point through reverse painting, the pure goal of reverse painting, the transition from  abstraction to impermant, becomes possible.