Growing up I have interested in human and human issues in particular just like being human the first time in this present life because of my previous life which had lived the heaven according to my fortune and destiny. Deepening interest in the relationship or psychological and I have researched history. While studying the history of human I was concerned with the history of the origins of human life. Theme of my artwork which is material of the ceremonial burial of Silla, have started from the question about the world after death.

Life
Death
Karma
Universe’s circulation
Energy
etc.....
I am so various accumulating experience as to do insight about previous existence and after death. The mental zeitgeist of my painting is based on oriental art. I always research traditional Korean paper and ink and extensive researching various colors and materials in the world in order to use without clogging. Over the ridge of my life which was intense and keen, I'm blessed with tastes and a susceptible life. In the future, I will be expressing about my life's wisdom and changes. I hope my journey is smooth sailing and continuing.

Traces of creation and extinction

Park, Young-taek (Professor, Gyeonggi University, Art Critic)

The history of living things that have appeared on Earth counts about 3.8 billion years. Humans evolved from Australopithecus in eastern Africa about 2.5 million years ago, and Homo sapiens, today's humanity, became the master of the Earth about 70,000 years ago. And from about 70,000 years ago to 30,000 years ago, the first objects that could be clearly labeled as works of art or jewelry appeared. Finally, culture and history have begun. It is said that it was possible, first of all, because Homo sapiens had the ability to speak language. From then on to the present, countless humans have made life, created art, and unfolded everything in life. The individual human body will be imprinting the memories of all mankind that have survived so far in the genetic factors. Therefore, one individual's life may be reviving and experiencing the entire history of mankind. It is impossible to remember all of the myriad life stories and history of individual living things, and the struggles of living things. Strictly speaking, we cannot fully understand and reproduce life and the world. However, there is only one view of life and world view (which is bound to be fragmented) formed by the memories and experiences of a person's life. Anyway, the act of art is the expression of everything that a person feels and thinks, and this is a world of so-called “represented reality”. That becomes the subject of the work. It contains the artist's memories and experiences of life, and some kind of perception of the world and objects. It is said that there is the reason of life and the realization of life, which the artist himself perceived, and the attempt to prove the authenticity of his logic through the act of drawing is understood as an art act. At this point, art is closely linked to the so-called value judgment problem. Therefore, the authors' themes, methodologies, and ideas about art are also attributable to this value judgment.

Eun-suk Kim intentionally leaves several traces on her screen. These are accidental and inevitable traces. The traces gather to create the subject and content of her paintings. Although there is no specific object, the entire process of painting seems to imply and symbolize a specific subject. First of all, layers of paint, traces flowing and flowing, and countless gestures are projected intact on the screen. It implies a distant texture of time. At the same time, it visualizes and substantiates the disappearance of many living things and the creation and extinction of civilizations. Thus, the screen is not a single plane, but rather a space in which several layers of spaces are repeatedly stacked with parallax. The space is both showing and blocking, and is transparent and partially opaque. Therefore, the traces raised with a slight height and texture on the plane do not represent or imply a specific object, but are also filled with a state of self-sufficient expression by itself. It is also a directing that implies a material state or an primitive state before indicating or reproducing something. Therefore, it is a manifestation that paints and brushstrokes can be sufficiently expressive and artistic in themselves before they describe visual objects that anyone can recognize. Perhaps it is a deliberate confusion against all representations, an allowance for chance and uncertainty. In fact, an image is a fleeting desire to reproduce something that cannot be reproduced in the end. Therefore, all images cannot reach true representation, but can only exist in a way that implies or metaphors them. Therefore, abstract art is a critical response to the useless desire of representational art. Eun-suk Kim's paintings and screens only express the life story of individual living beings, the memories of life, the creation and extinction of civilization and history, etc., which cannot be completely and completely reproduced. The artist says that the series of'stains' stains left on the surface were carried out in order to prove the “destruction and deposition of civilization.” In the end, the various stains left on the screen are traces of the time of a living being recognized by the artist as well as the history of humans. It becomes a visual image that metaphors the process of and civilization and its creation and extinction.

Like this, all images are metaphors.

The works using stone, powder, and glitter on the jangji are based on the material experience of traditional oriental paintings, yet have a very different sense. First of all, the entire screen is uniformly applied. Firstly, the background with the dark habit is unfolded like a landscape, and above it is filled with dots, fine and sensitive lines, and various traces that have been smeared and soaked in, and these are placed in a washed-out expression again. It was mentioned earlier that this is a background that implies a repetition of instinctive and primitive actions and a temporality that repeats formation and extinction. On top of it, a thick, liquid substance is carefully flowing or sticking. The entire screen is painted homogeneously and is filled with various pictorial traces and passages of time. In addition, it is covered with outstanding textures, and they sparkle as if shining from inside the screen. This sparkle is the effect of glitter. On the other hand, the background and the surface exist in the same space, but at the same time create a psychological space with enormous depth. There is a trace of paint that passed and flowed, stayed and stuck together, covered it with transparent colors, and overlaid on the screen stacked in several layers, paints and textures that seem to have flowed accidentally and naturally are laid on top of the screen. The paints were pulled by several directions (in each direction of the square screen) and were produced as if they stopped. Therefore, they were not drawn by brush strokes or artificial force, but became pictures that conformed to natural conditions. It is due to time, speed, and gravity. Leaving behind a hazy background, lines reminiscent of the heart or any organ in the body are accumulated and floating in the center. Everything is erased and faded, but the traces that survived as the last good seem to have stopped trying to reproduce something earnestly. It is also like a cross section of an organ, cell or tissue of an organism. Through such imagery and screen production, the artist may be visualizing the myriad traces of the history of life, the history of humans, and the creation and extinction of civilization. The traces of the lives of individual creatures that cannot be named and can never be reproduced, but above all else, which are intense and true, retaining the reality of life.