Yun-Hee Toh

THE ETERNAL TIME AND THE FLOWING TIME, AND THE UNFLOWING SELF-CONSCIOUSNESS

I. Despiting the values of works, there is always implied in an artistic work the idiosyncracy of the artist. It would be obscure in the sound of 'idiosyncrasy', however, there is no other word so accurately expressed than 'idiosyncarasy' in expaining the inner world of an artist in his overall artistic activity. For example, an art work contains in itself the vrious aspect of the properties of the artist, including his own cultural surroundings in which he has been grown up, individual quality, and the things he would like to express, and his view of life, etc. His works may be evaluated in a various way regarding his own idiosyncracy is whether noble or common, individual nature, or common linguistic sensitivity,distinguishing the result of works to be valuable or invalable s well. Amon all of the criteria of the evalution of the works, the one which would emhasizing the objective evaluation of the viewers who may esily comprehend the intention of the artist through his works. Toh Yun-Hee's works are to be classified into good pieces based on this criteria of the evaluation. Because,Most viewers are easily grasping the intention of her artistic expression without any extra defficulties(without comment of her own views). So many works have been remaining in an obscure interpetation or not understood by the viewers, feeling no sympathy of the idiosyncrasy of the artist without attaining a logical reason through the interpretation of the artist himself, the abstract paintings being exposed in the public meaninglessly. In this connection, her works will be compared as a mirror faithfully reflecting her inner world and her interest as well. Her works are well prepared to representher insights and idiosyncray in her artistic world, and thus her works have been created in a manner of the direct linguistic expression edthod with her unique language of 'ralism'.

II. Her artistic world has a considerably consistent 'intentive direction'. She has been concentration her effort consistently in her own artistic interest in her creative works rather than based on the various theoetic interest of fine arts. She has kept on a fixed subject matter in her artistic world, and would maintain her attitude toward her desire to accord with her own artistic view within the fixed frame of her own artistic view within the fixed frame of her own artistic world. Her attitude of artistic aftivity would be encouraged by the deire of reconfirmation of her own identity through a riously expressed linguistic method based on her reaily occupied and sound position, rather than directed by her consciousness of seatching her own identity. Then, what is her consistent interest? It is the very interest of herself towork on a persistent exploration for 'humanity'. The source of her such a feeling is largely based on her aspiration for immortal objects or pure emotion. 'Immortality' and 'purity' are all the concepts implying the eventual eternity. The very heart to recollect the 'eternity' and to concentrate the consciousness into ir would often be contrary states against ternity. The self-consciousness combined with uneasiness or tentatively feeble or apt to become confused-the spiritual ditorial works of in this self-consciousness at times generally expresses in a form of interest toward the 'eternity'as a contrary example. The ring which links between the conception of the interest in eternity and the tentative existece is the conception of 'time'. Her works ways are forming the two stratums related to her 'transparent' consciousness, closely connected to her exposure of direct and indirect 'time'and the simple and unique interest. And, thus her works are prepared to realize best of her concption of the transparent view over these phenomemon of the eternal feeling and her won transparency of self-consciousness through her variety of artistic works. The varieties of her works would be a maximized expression on the two stratums or throughher delicate tableaux, or defined as a harmony of the two varieties. In the midst of her life, her interest and effort to hold the phenomena by collecting the objects that represent the eternity and time are attributed to almost the state of her extreme affection of the objects. However,'affection' is always illustrated as an untransparent and sound emotion. And the sound emotion is a contrary one against the 'eternity' that she feels.-This is not the result she would desire. She, therefore, covers a veil of cool visual line over the 'affection'-much alike the transparent but unflowing water. The eternity is an existence in the infinite time, but is a concept lying at the opposite side of time beyond the time, and in the same time it is the concept indicating the transiency. It's a sad concept. The reason that her works mutually related with inside and ouside of the conflict world of 'the unshaking object' and 'shakings' of her self-consciousness and the 'the eternal time'is based on her subtle attempt through her painting for the expression of the relationship with the 'sad concept'. If not, her works may vecome fallen into a very abstractive concepturalization in an attmpt to structure the double stratum on the second dmensional plane surface of a canvas. Furthermore, the media which she adopted to express the remarkable figures of time or eternity are all such common objects including old porcelain pots, wooden shells, worn-out and rotten cover of old books, the outlook of old men, etc. which directly induce our direct attention as if they were materialized and indicative objects. Her ethod of approaching to the time and eternity is consisted of an exploration of the common people's culture and the trace of the acient time existing in the inner world of the nature. That is to say, the methods are implying the symbolic time of the bioogical evolution of the fossils, ancient nuclei of in her artistic products. The culture and nature beng cared of by man will pile up their own annual rings by the passage of time. The thickness of hi tory will attain its meaning only within the rational aspect of man, and at the moment of attaining a eaning, it will also attain the feeling of 'eternity', The man' line of vision toward the truth will reconfirm his own destiny of irresistible being as an uninfinite existene, and will become like a spirit of being brown stuffing representing resignation and thughts. If artist Toh satisfies herself being indulged in this conciousness it will apparently be defined as her own matters related to herself and her own works. However, if she takes an adventure to have a spiritual game to think over the indulgence beyond her own stabilization in that indulgence, that is to say, if she would take a time and to integrate he meaning of the whole, she would certainly perserve a refreshed visual angle to verify the spirit of blue energy. A 'vrification'is not always good for anything. However, in the case of Toh Yun-Hee, it is worthwhile to attempt another methodological conceptive attempt to confirm the whole appearance of herself being pursued by her all the years, and the her various languages being used in her artistic activities.

KANG SUNG-WON, Art Critic
1995