Criticism

Drawing Pop_I'm Not a Rabbit_Ahn Hyun-jung (Doctor of Philosophy of Art) Art Critic's Writing

A unique edition with a stitch line on top of the iPad drawing emphasizing lines and strokes is unfolded. The rabbit character, who looks exactly like the frowned artist, melts the artist's autobiographical message and shows the excellence of caricature the '眉間' into the artist's spirit to focus on the essence. The artist attempts to create an original screen that adds the sentiment of oriental strokes to the 'energy of pop' by emphasizing lines even in the letters in the painting. Red Stitch also appeared in the 'early white-black work' without exception. It reflects the 'thorough writer's spirit' to leave analog values in the digital world. The artist goes back and forth installation and painting based on the delicacy of textile crafts and the multi-layered sense of the digital generation. Despite being a cool work with several lines, whether small or large, the artist's challenge to cross the boundary always aims for the next. Rather than gaining fame, the artist who wants to be a steady worker enjoys a state in which a simple matched pure beauty is realized into a work. Like <cactus> <flower> <rabbit> <book>, works that cross pelting and painting show a 'simple and sophisticated self-interpretation' that relies on strong colors and confident drawings, like a 'straight title'. The smile that counts between the frowned expressions is like a self-portrait integrated with the artist. However, it is a wrong perception to interpret a rabbit embodied in several lines only in pieces. It is as if you look at a part or a certain corner of a person and think it is the whole. The artist creates a haunting world view through character work based on a 'flat gaze' different from Westernized pop.

There is a painting titled The Betrayal of Image, created by René Magritte (1898-1967), in 1929. It is a simple painting of a cigarette pipe, but it became an immortal masterpiece by writing one word, "It is not a pipe." Song humorously adds the "character of a rabbit" to our daily habit of confusing paintings and objects. As the motif of the frown rabbit is replaced by "black humor," it seeks the aesthetics of purity, such as Yoshitomo Nara.

"This is not a rabbit" refers to the ironic depth of the rabbit. The strategy is to "give artistic diversity" to the connected world like the dichotomy. You can't smoke with a pipe painting. But the moment you look at the pipe painting, you can't even

You can change the 'standard of thinking' without realizing it. Through the regulation that "this is not a rabbit," Song Min-ho converts it into an 'instance of meditation to seriously think about light objects'. It was in the 1980s when the artist started to draw rabbits in kindergarten. The experience of receiving the grand prize at the world competition hosted by the Yukyoung Foundation for rabbit painting and receiving an award at the Children's Center was selected again after 2005. The pleasant experience of childhood was an opportunity to create. A rabbit is the artist's own story and functions as a self-portrait that transcends time and space. The artist's daily aesthetics, which connects empirical values into works, is not difficult to find even in works targeting 'book-stools' that are always observed at home.

Dry Felt and Hand Stitch, drawing boundaries

The reason for connecting empirical aesthetics with drawing is related to sewing, which I learned from my grandmother to reduce school uniforms in high school. Recent work is based on dry felt and hand stitch, which contains the artist's own unique interpretation of trying to reflect on analog values in a world where digital is prevailing. Recently, the artist emphasized the interpretation of the text away from the main character, the rabbit, while appearing the text at the front of the frame. By reversing the situational direction, it creates a simple and colorful aesthetic that directs the irony of negativity in positive language. The artist's works induce various creativity by mixing craft color (工藝色) and painting color (繪畫色) at an appropriate ratio. The reason why the color of the work looks colorful is because of the visual effect through complementary color contrast, and the artist experiments the boundary of drawing that reduces the conceptual character to dots, lines, and planes through comparison/contrast between content and form.

Song Min-ho's work is summarized as the excellence of taking control of the screen with simple drawings and reinterpretation of daily life based on minimalism. It reveals one's own worldview in the fusion of fibers and painting, dyeing printing and stitching techniques. Various attempts to cross the silk screen and work with a three-dimensional effect using foaming ink lead to "intersecting and mixing creative meaning interpretation." The artist expands the drawing pop into an artistic phenomenon based on textile art and expresses a minimal daily life based on the judgment of "phenomenology = self-experience." The important thing here is the artist's interpretation (the artist's intention) without genre distinction.

French critic Roland Barthe (1915-1980) argues in "Le Plaisir Du Texte Roland Barthes" that "pleasure is a concept of alienation that violates the existing order, and the autonomy of enjoyment should be restored by liberating it from the uniformity of the ruling ideology." The artist's rabbit character also functions as a subjective character that "empties and reflects" that responds to the autonomous interpretation of others. Song Min-ho's creative attitude is in contact with the existence of enjoyment. The absence of a rabbit in the shape of a rabbit, the combination with text from a squishy play," all of which can be said to be questions and pleasant aesthetic codes for all of us living in the era. Song Min-ho's drawing pop, which is simple and clear, is gradually securing his own identity in the encounter of vivid colors and letters.