It can be seen that my work is a new form that emerges in the relationship between order and disorder rather than how the visual form of points and lines changes. In particular, I believe that there is a system of representations in this vertical and horizontal form by allowing my mental elements between points and points, between lines and lines, in parallel with various series through actual experiments based on the form of change, apart from the limitations of paper.

十方's painting

Shin, Moon Yong

There are times when my work notes containing my progress in time stop at some point, and this may be my limit. I left the process of making my work that gives meaning to my work and even the pictorial meaning of the work to be recognized with a justifiable justification, and discarding and discarding any meaning itself. By regenerating the existing phenomenon, the idea that emerged from another regeneration was confirmed like fate, and the feeling of continuing was seen.

From the actual form to the concept and to the sea, the process of feeling the limit and suggesting another direction eventually finds another course in me, and the process of recognizing the experience and reality is quite interesting, and interest and tenacity arise in it. Seems to be.

From the time when he brought in from nature to landscape aspects in the past, sometimes when viewed as a genre in the realm of East Asian aesthetics, the material of the work and the elements and principles of the shape according to it are constructing a screen that proceeds appropriately from oneself.

In the end, starting from a logical landscape, it seems to be the progress of what was latent in it. Points rather than placing specific gravity on the characteristic material of the material. The unfolding of work in harmony with the lines is seen as a function of rational and intellectual mind.

Rather than how the visual form of dots and lines changes, it can be seen that my work is a new form that emerges in the relationship between order and disorder. In particular, I believe that there is a system of representations in this vertical and horizontal form by allowing my mental elements between points and points, between lines and lines, in parallel with various series through actual experiments based on the form of change, apart from the limitations of paper.

As such, I hope that between the vertical elements of the line, I can find myself changing with the world of nature and humans, experience a world of coexistence with nature, interpret it anew, and perhaps be seen as a multi-layered cultural painting that connects to nature.

十方(Sibang): A Buddhist term that refers to all directions, squares, and top and bottom. It refers to all things in the present life.