microcosm-macrocosm n°1, 2020

painting, acrylic, Chinese ink, Korean paper mache on canvas,120x120cm

microcosm-macrocosm n°2, 2020

painting, acrylic, Chinese ink, Korean paper mache on canvas,100x100cm

microcosm-macrocosm n°7, 2021

painting, acrylic, Chinese ink, Korean paper mache on canvas,60x60cm

7
5

Installation, Mixed media technique(acrylic, india ink on a rice paper paste), 2017

Mixed media technique(acrylic, india ink on a rice paper paste), Ø50cm, 2017

Mixed media technique(acrylic, india ink on a rice paper paste), Ø50cm, 2017

Mixed media technique(acrylic, india ink on a rice paper paste), Ø50cm, 2017

Mixed media technique(acrylic, india ink on a rice paper paste), Ø50cm, 2017

Installation, Mixed media technique(acrylic, india ink on a rice paper paste), 60x60cm each piece, 2016

Mixed media technique(acrylic, india ink on a rice paper paste), 60x60cm, 2016

Mixed media technique(acrylic, india ink on a rice paper paste), 60x60cm, 2016

Mixed media technique(acrylic, india ink on a rice paper paste), 60x60cm, 2016

Mixed media technique(acrylic, india ink on a rice paper paste), 60x60cm, 2016

Mixed media technique(acrylic, india ink on a rice paper paste), 30x30cm, 2016

Mixed media technique(acrylic, india ink on a rice paper paste), 30x30cm, 2016

Mixed media technique(acrylic, india ink on a rice paper paste), 30x30cm, 2016

Mixed media technique(acrylic, india ink on a rice paper paste), 30x30cm, 2016

Mixed media technique(acrylic, india ink on a rice paper paste), 30x30cm, 2016

Mixed media technique(acrylic, india ink on a rice paper paste), 30x30cm, 2016

Mixed media technique(acrylic, india ink on a rice paper paste), 30x30cm, 2016

Mixed media technique(acrylic, india ink on a rice paper paste), 30x30cm, 2016

Mixed media technique(acrylic, india ink on a rice paper paste), 14x24cm, 2016

Mixed media technique(acrylic, india ink on a rice paper paste), 12x15cm, 2016

Dandelion Spores Series
Série de Spore de Pissenlits
​​민들레 홀씨 시리즈

Dandelion Spores Series : macrocosm / microcosm

 

….. Changes in the hard-won wrinkles of elderly people make us surrender to the world of the artist's conscience by removing the stereotype one can find in photographs.

They sometimes look like wrinkled rocks, furrows, or even dry fields seen from an airplane. In these sterile and arid lands, dandelions bloomed. These flowers, which can easily be seen each year in sunny fields, are seen with already white hair along the furrows. And some other flowers hover around fields as wind blows. This resembles our own life. The strength and vitality shown by dandelions which take roots even in barren soil go harmoniously with the passage of time and are tantamount to those old wrinkles, witness of exhausting life.  [ Extract of the Face Series (Choi Guon -Soo, photography critic) ]    

                                    

In the Face Series of the artist, the dandelion spores shown in deep face wrinkles are especially made to stand out in the recent Dandelions Series. The image of the face wrinkles disappeared,  and on a dough like textured rice paper reminiscent of rugged surface of soil, dandelion spores symbolizing cosmos are emphasized as a macrocosm, and in there, another small microcosm represented by myriad of spores are delicately blowing around waiting for the next wind.   

Série de spore de pissenlit : macrocosm / microcosm

…. Sur  ces terres en apparence stériles, éclosent des pissenlits en fleurs qui se transforment en cheveux  blancs parmi des lignes dont le vent a dessiné les formes, et deviennent comme des fleurs blanches égarées, portées par le vent…

En instant, la vie ainsi révélée sous cet angle ressemble fort à la notre.  La force qui se dégage de ces petites fleurs blanches, leur vitalité qui surgit de cette terre inhospitalière, nous relient aux rides creusées par la vie et le temps dans la chair des  hommes.

En créant par ses œuvres, un lien entre le microcosme et le macrocosme, Sook SHIN nous montre l’impermanence  de nos existences, portées comme ces fleurs par le vent du temps du qui passe. Son message est celui de la vie, celui de la vacuité des choses Chère à l’âme extrême-orientale… et qui nourris son cœur. 

Pour que le support soit rigoureusement en accord avec ses exigences, Sook SHIN a développée une technique originale à partir de pate de Papier Coréen qu’elle colle délicatement sur une toile.  Patiemment le support prend alors l’aspect vivant de la terre ou viennent se déposer les rides « métamorphosées »…..  

 

- Extrais du texte de Monsieur Gun-Soo CHOI ( Critique d'art) 

민들레 홀씨 시리즈 : macrocosme / microcosme

…..어렵게 얻은  노인의 얼굴 주름들의 변형은 사진이 주는 상투성을 벗고 화가의 자의식 세계로 투항한다.그것은 때로는 주름진 바위 같기도 하고, 밭도랑 같기도 하며 비행기에서  내려다보는 물기 없는 메마른 들판의 풍경 같기도 하다. 그 불임의 메마른 땅에 민들레가 피었다. 해마다 볕이 잘 드는 들판에서 흔히 볼 수 있는 꽃은 벌써 머리가 하얗게 희어져 밭이랑을 따라 피어 있다.또 어떤 꽃들은 바람에 날리며 들판을 서성이고 인다. 그 삶은 우리 인생과 닮아 있다. 아무리 척박하여도 뿌리를 내리는 생명력을 보여주는 민들레의 강인함은 시간의 흐름과 어울려 고단한 삶을  살아내는 저 늙은 주름과 등가를 이룬다….   짧은 봄날 바람에 날리는 민들레 처럼  인간이란 잠시 왔다가 가는 자연의 한 부분에 지나지 않는 다는것이다 ….. 

 - 얼굴 시리즈  글중  발췌( 최 건수, 사진 비평가)

       

작가의 얼굴 시리즈에서 , 패인 얼굴 주름 안에서   보여지던   작은 민들레 홀씨는,  최근  민들레 시리즈작품에서 크게 부각되어 표현되고 있다. 얼굴주름의 이미지는 사라지고,  울퉁 불퉁한  흙 표면을   연상시키는  화선지  반죽질감 위에서 ,   거대한 둥근 민들레 홀씨는  우주( cosmos) 를 상징하는 macrocosme  의 형태로 부각되고,   그 안에는  또 다른  작은 세계인 microcosme 의   무수한 홀씨들이  미묘하게  흔들리며    바람을 기다리고 있다.