The Supper _ tableau on the table

Yoon, Young Hye

_ Flowers on a plate, pictures on a table.
The image that can be touched by reaching out is just illusion. There are things in the world that you can't catch even if you try to catch them, and things that you can take with you even if you don't. The ‘flower on the plate’ on the canvas is not a false but a promise to the reality. A promise is a future that is realized on the basis of faith and foretells its existence. although the flowers on the plate soon fade away, the moment of perfect existence changes the life ahead that will be repeated, just as the scene confirms.

_ Each has a plate.
What would you put in the plate if you could put anything in it, just once? It would never be easy if you could choose. It could be a bad plate because of overzealousness. If it's an image that reveals life, it's even more bitter. When you go to a high-end restaurant, the chef melts all the skills he has, carefully creating food for his customers, and most beautifully plating them out. Each course experiences the most beautiful and delicious food and meets several plates. On the other hand, when they go to a buffet, they bring their own food into their own plate. At first, they try to pick up a bit of the food they want to eat, but in the end they are full and packed in a jumble of food, and then they eat it to fill the next plate. As a result, the former and the latter have taken several plates at the same time, but are in a very different situation. You can't judge anything right or wrong, but you realize that it was at least someone's touch that treated me more dear than I was. The dishes that had been filled for me when I looked back on my life, which was not short, have always been a series of choices and regrets. On the other hand, my plate someone filled up was always a gift and a thank you.

_ life and tools, tools and life
A daughter of a family, a student at school, an artist in society, a mother as a wife after marriage. Nothing has been too difficult, but it was not easy to live as an artist after marriage. Nevertheless, I wanted to find myself at first self-destructing so that I could raise my falling self-esteem. But now that I have become the subject, work has been an incidental being and nothing more than a tool to expose me. I've been working with that attitude before and when I start working again, but the more I feel the emptiness, not the filling. Is it really that important for me to be the main character in art and life? In a long time when I couldn't paint, I changed little by little without myself. Rather than my life as a subject, as a life in which a batter is the subject, as a form of tools that must exist to portray a picture than as an artist. I soon became a brush and spent only time for painting. I made me Empty out and fill up with time for beings not me. It eventually became a way of life that filled me up and flowed around even though I seemed to disappear. In a way, I now realize that I had to live my life as someone’s tool. In the Bible, Jesus Christ gets his final supper with his disciples before he runs to the cross and dies. He takes the bread apart and distributes it to his disciples and says it is "my body." After Jesus’ resurrection, the disciples were given the Holy Spirit, which gave them the ability not to reveal themselves but to actively reveal Jesus. Life given to each person may be too heavy for them to handle, but from an omniscient point of view, it may be a portrait of a human being as insignificant as a fallen piece of bread. But the small crumbs are part of a lump of the bread after all. It is clear that it is not a trifle at all. I want to be the touch of someone who wants to share the plates in the picture for others who are now suffering for themselves. To share the bread I received with them so that they can become one body.

Painting Theory of Hide-Show Painting or Dualistic Painting

Shim, Sang Yong (Ph.D in Art History, art commentary)

Since 2005, Young Hye Yoon has been painting (Eating-Flower) series that deal with a tableware set that is neatly arranged on a dining table. There's a white or flower pattern engraved dish on a white dining table, and two big and small forks and knives are arranged on each side. A flower of brilliant primary color and leaves are placed on the flower patterned dish instead of foods. The sight is vertically facing the tableware set or facing sideways as if shooting an 'identification photo' of it. The sides of silver coated spoon, fork or knife that occasionally shine are zoomed in over 2m in exaggerated ways, and, on the other hand, the focus of the flower and dish placed right in the back becomes seriously blurred. The background that is treated mostly with a white table or the single color tone of deep black adds dramatic sense of suspense to the image. The value of her paintings has been proven to certain degrees thanks to her descriptive sense of capturing objects' characteristics and dramatic talent of inviting them to the structure of a story. However, it appears that the significant parts of her paintings started to be propelled through other motives around 2007. The motivation of this change that was brought about during an aesthetic journey started from her recollection of the small successes that she regarded as pride.

“I happened to recollect once again on the artworks that I've created and traces left behind, and I suddenly felt a sense of futility and emptiness upon realizing that my artworks that were sold through art market disappeared to somewhere as well as the currencies that were exchanged for them.” (Young Hye Yoon)

What stared from such introspective reflection is none other than (Hide-Show) series.

* Dualistic or dialectic painting of 'painting' and 'after painting'
The painting of Young Hye Yoon make issues out of the journey that they go through upon their completion, namely, 'after painting'. In fact, 'after artwork' is a matter of discussion for painters of modern concept who regard having fulfilled the obligation through the internal completion of the artwork. That's something that the painters should not relate themselves with nor be responsible for. What does it matter if their things become complementary goods of entertainment for getting rid of boredom of post society or decline as a part of corrupt product economy prevalent of conspicuous consumption. However, Young Hye Yoon raises an issue for the actual circumstance in which paintings (including hers) are being defined (only) as a product and exchanged. And she was able to separate herself from the understanding as a wretched painter who paints simply decorative bunch of flowers and painless dining table from the awakening of 'after painting', and save herself from the reductionistic modernism theory of painting that seeks the painting itself at the same time. In this vein, (Hide-Show) series paintings of Young Hye Yoon is the product of a more expanded understanding, and it is never the product of the picturesque process that ends simultaneously with the signature of the painter. Young Hye Yoon takes on the method of intervening in standard way the locality on which her paintings will be placed. Namely, the circumstances of the space in which the artworks will be located (hung) are inserted onto the canvas in advance. In particular, it is to include the surrounding circumstances that will be reflected on the glass surface of a clear glass frame are include in advance under an assumption, namely, the assumption of her painting being framed in a clear glass frame and hung in a given space. The after painting that is reflected on the painting at that time has considered the situation of the painting actually being placed. The paintings of Young Hye Yoon becomes dualistic through such process. Namely, it ends up possessing dualistic identity of being the result of the understanding for after painting as well as the product of the painting process, in other words, not being the painting itself as well as being the painting.

The dualistic paintings of Young Hye Yoon become more meaningful through the motivation of their embarkment. The painter had an occasional opportunity to experience the 'after sales' of her paintings, and it gave her a shock that couldn't be lightly overlook. They were being continually pushed out to the borders of everyday life and outskirts of life as they were almost entirely being avoided from the indifferent eyes of people on strange hospital hallways, cafe and living rooms. Many questions poured out to the 'categorized' understanding of the painter that was limited only to an atelier: wouldn't the conviction of painting be effective only in an aseptic room of atelier? what meaning would they possibly have in a foreign land of everyday life? isn't painting too weak of a creation for it to sustain the meanings of life? (Hide-Show) series of Young Hye Yoon can be understood as a practice of the dialectic theory of painting that allowed such questions to rather become her form of painting. This is the dialectical declaration as well as record of the conflict causes by the painting and its surroundings, the conflict between atelier and everyday life and the fight exploded in the rift between a wretched painter and painter. Such dialectical understanding is especially worth noting in the sense that it can be a strategical form of raising an issue for the aged creed of painting as the 'painting itself'.

*The painting that contains within criticism, misread that possesses the scent of the original
The paintings of Young Hye Yoon are linked to the important issue of modern art as they are closely related to the self-reflective question on how the paintings are being consumed. In fact, the standing of artworks today is being essentially reconsidered and redefined. Although paintings and sculptures were traditionally considered as something unique through the point of time they were made/created, they are considered so through the point of time of their consumption. A masterpiece is defined as something special not through the point of time of unique act of 'creation' but rather through the point of time of consumption through unimaginable high price. Art has become a part of consumption civilization in modern times that expands through, in specific, consumption (instead of advancing through production and labor). Consumption is now not only the 'motive power that moves society' but also the driving force of art (Jean Baudrillard). Look at the scene in which the time of investment arrives and that of artists passes and the time of massive consumption manifests before our eyes and the time of creation disappears!

It is clear that the attitude and point of view of Young Hye Yoon that respond to the modern situation are critical. This is sufficiently revealed in his expanding and transcribing of the followings texts of an art critic onto her canvas: “지if we don't control the '(money) conversion fetish' that is roaming about like a ghost in the art field, we'll have to experience real destitute state of art for a longer period of time in more serious way.” Such texts became the opportunity for the painter to deeply thinking about and facing who are the artists in the society such as that of the current, what they should be doing, to which world to rebel against and to belong. However, the texts that came into the canvas amplifies the room for misread rather than faithfully delivering the message of the original texts due to the many omissions and severance of the thread. To interfere with reading, obstacles are placed 'intentionally' at places in the writing. Furthermore, the interpretive opportunities of the observers inevitably have to be intervened as they are not able to know the conclusion of the overall texts. In addition to this, the painter definitively dismantles the critical nuance of the texts themselves by coloring each text with brilliant primary colors. Paradoxically, the painter pleasantly takes off the critical nuance of the texts by intentionally expanding the possibility of misread. The painter neutralizes the sharply edged criticism through a fancy feel. The painter confesses that she does not want to definitely make the observers uncomfortable through her painting in spite of her critical starting point. Is it a contraction? It could be. It is so from the sense that she is ultimately a painter and the source of reason regresses once again to atelier.

However, contraction has to be an inappropriate concept for capturing the process and movement of pushing and pulling and the ups and downs of conflicts and reconciliations since it is too classical and declarative. Instead, it would be much more appropriate to say 'dualistic' for understanding Young Hye Yoon. Although she expands her understanding to the after painting, she is still on the extended line as she is still doing so through her paintings and through her introspection of 'the painting as desire'. Namely, paintings to her are the mechanism of self-reflective knowledge that directs the expansion of understanding as well as the projectile of the desire to be loved/recognized. Ultimately, her paintings are an 'advancing' world in which the confrontation and coexistence of both parties from disparity of the two, refutation and alignment and conflict and the resolution of conflict sensitively squirm within. The paintings of Young Hye Yoon are the paintings that introspect paintings, in specific, the paintings that contain criticism within as well as the misread that possess the scent of the original. One fact can be mentioned at the current moment. It is that Young Hye Yoon is aware of the fact that the opponent she should fight against through the expansion of understanding obtained through her paintings, if there should be any, is not (the corrupt) world but paintings once again. This is a very important idea for the painter to discern her future journey. It's because painters can go into the battler against the world only through their paintings, and, at the same time, truly fight with paintings only when they open up themselves to the world.