Yun-Hee Toh


The artwork of Toh Yun-Hee possesses the two very important moral codes Wh- ich can be criteria of measurement of art clitique. The essence of man named as time and life, and the source and considerably valuable subject matter to which she attaches, and the vivid individuality of hers in the course of manifesting the subject matter of her works by her unique method, Viewing in relevant with the motif, and artist may step back from the center of the topics desirable to the contemporaries including such ex- pehmental exploration, and tracing after the essence of art or arts against reflection of consciousness to the reality, or message, or simply word for his new expressive style. While he steps back, there indicates an aspect of individuality in tracing after the new expressive style, he lacks the originality-the etymological moral codes of individuality pursuance of the source of objects, identity, the shapeness of meaning dimension of in- dividual, and on the other hand, it differs from the emphasis on subject of attitude itself and the meaning of conclusive product.

The position of slightly moved off from the center of the topics as described above, which is a step-back at the time of present, and the reflection of the sections of life being fragmented, and the attitude in place of the integrated reflection of Conscious- ness is asserting the fact that the integrated consciousness if no longer possible or at least prevailed by concept of difficulty. The attitude of an artist simple stepped back the topics categorized as a local sense named as arts or painting is much dose and similar to the intrinsic naturalist who traces after the essence of man or life itself and time and life. The artist is peeping into her inner world, the dark abyss, and the cover of the end- less time as she stepped back from the center of topics. As usual, An artist would not define himself or the essence of life as an object, objective being or materialize, or de- fine as a subject assuming a certain distance as a close visual angle. The visual line of an artist is not defined from the original cell, the original shape of life, and the steady gaze moving suggishly. An artist and the original cell is veiwed as oneness. An artist may confirm himself being suggishing side by side through the original cell.

The original cell will become fossilized by the track of time. The existence of cell being astonished by the violent time and sudden infiltration will be ceased of its mo- tion. The body of cell being astonished will become instantly stiffened, and become slightly contracted. And, then it make a clue so hard as a piece of bone. The liquid of original quality where the cells are comfortably swimming around-the amniotic fluid which contains the unborn child-will be evaporated and leaves a stain dimmer than the cell, traces and blots. The cell is not in the dead state in the fossile which wholly Con- tains the life of cell. It is simply ceased of the motion, and momentary termination of life, and the instantly ceased life will become itself as a jail to confine the eternity.

The artworks of an artist is viewed similarly as the pictoral book of biology which is represented and reinterpreted by an artist, or the art book which is represented by an artist or woodblock artist, In that book, there appears an immense numbered and varied microbes which are similar looking as the eggs of frog suggishing around, the round mi- crobe with hard shell being arranged regularly as nailed scenes, the similarity of an as- cidian, bacteria, fung, flower petal, sea shells, and ammonite, etc. The difference of these objects from pictoral book of biology is the fact that the object is described as xx For example, it has been indicating the shell like, for sheel, similarity of shell or ap- peared to be shell rather than the indication of materialized naturalism. The description like xx create an aura with blots. The description like xx connected directly with aura inspite of indicating xx, but it is because not xx. As a blot is existing as noncrystalized, absence of crystalization and with constant possible form instead of being as a closed area from ourside or defines the objects or giving names. !n a word, it is a really vague nature, It is not easy to express it accurately or to grip the proper line. When the extent of vagueness becomes excessive it become 'abstract,' and in the contrary case, it will be transferred into depiction. The abstract and depiction are positioned at the both ends of the aura. Aura suggest the implication of life. Death is loss of life, and in the same time it leaves from aura. The same is applicable that aura indicates a sightly vaure matters in- stead of vividness. It may not be sure, but the vividness will eventually become false description or too commonplace at times.

The artist is depending upon a few words in order to represent the aura. For in- stance, she used to permeate very think pigment into the clothe of canvas to create a natural-looking blots, and then she describe an object, or object-looking subject in black color of such substance as graphite, expressing almost a clod. At this time, the oil painting pigment which has been permeated into the inward of the objects is distin- guished from the vividly looking acrylic paint. And, then, it creates and introduces a characteristic effects on the canvas by the meeting of the oiliness of the oil painting and the driness of graphite. The oiliness of oil painting is defined from the wetness when water is used. In fact, while water color remains only a trace of color when it is lost of its wetness, the oil color kepts on its original wetness-the feeling of wetness-wholly for itself. While water color painting exist with the concept of losing its entity of wetness, the habitual feature of oil painting is only drawn toward the vicinity, and eventually it would not leave from the canvas. The characteristcs of oil painting, which has Slipperi- ness, would capture the aura

The artist would obtain the 1st motif from the existing image of photograph, or represent the appearance by graphite, or provide an extra drawing on the image obtianed from the photograph. The chosen photograph, Print, and the image will be- come a slight changes from the real appearance through the process of the transscr- iption and silk screen printing method. The silk screen, with its particular printing meth- od, is able to adjust the dotting effects. This effect is located on the extended line of printing, and it has a similar concept of fossile regarding the feature of dot that can re- cord the objects. The artist would change by using the semi-transparent objects such as jessoe or medium-the state of gel-the records and the dotting effects being exposed from the objects of initial photo image. The transmutation of the object by the engrav- ing of the dotting effects would eventually changes in its quality.

The artist, by adding on the image of the photograph as if it were covered by a membrane of semi-transparent material, the intial state of objects will become a Charac- teristics of fossile. the layer of the semi-transparent material with uniformed thickenss has the meaning of confining or evaporating the aura from the canvas, Comparing with this, the initial printing and image of photograph ar nothing but a dried and thin object of death without having the particles of aura. By roughly attaching the semi-transparent material, it revives the orginal quality, cell, and life so closely related to the stuffed death through the printing and photographic mechanism. This artwork of the artist has been represented by jest and stroke, the unrestrained delivery of brush and its effect, erasing the initial image to some extent. The obejcts would lose the intial border by the delivery of brush, and eventually become a state of vagueness through its transforma- tion and transmutation. The delivery of brush would cease its motion just before the point to which the objects become 'a slightly vague state.' on the canvas in an accurate timing. The original quality, cell and life will constantly slip toward the neighboring Orig- inal quality, cell, and life, and will eventually come the same identity of the habits of blot, the whitish gell state of transparent material, the products of stroke being reflect- ing the slight irregularness. The above process of progress is aimed to retain the aura by reflecting the strong swill and intention of the artist in an attempt to revive the stuffed death of the objects

The artist feels the time with her fingers. This is noted of the artist leaving from the materialization of time, subjectizing and objectizing of time. However, the artist is not in the position to control the time to be materialized, or subjectized, or objectized. Only the artist is exisiting within the time. And, the artist, who is merely a cell within the time, will touch with her fingers, crashing and infiltrating into the neighboring cells. Very often, the group of cell would become a massive object, or at times it become a plain-looking, whitish and the vague blots, traces, and dots with endless narrative impli- cations.

Koh Choong-Hwan/Art Critic, 1996