Modernity and Humanity in Magnetic
Magnetism and Unity between the Real World and Inner Space
Choi Young (a literary critic)
Searching for self-existence through rediscovering objects and phenomena
Lee Gi-Seong always appears to us with fresh impacts and strange fronts. The consistency of his artistic posture makes him stand as a leading figure in painting circles. The impression from the modernized colorful marbling works of his early period is still vivid in my memory. Passing through the mid-term of his works which were produced by dripping techniques having interest in nature, the character of his latest works which are aimed to humanism is focused on finding self-existence using bronze plates and iron powder. His main technique is the unconscious reflection of real world, coincidence and variable processing. In the course of depicting the phantasmal inner self, he keeps experimental spirit to treat daily objects as breakaways.
He is one of the leading painters to have insight in examining the relation between humans and objects, and the compounding of individuals and societies. It is the motive of my writing to share colors and sounds of the magnetic core in which reality understanding and self exploring are recorded through his works.
In his works, daily materials appear as main objects, and individual selves don’t appear in the surface directly. In the space opposite a human life embracing reality, he juxtaposes iron materials and adds cold-hearted feelings. His attitude is serious in trying to rediscover neighboring objects and complex phenomena. Without complaining or coping with the perverted reality, he controls his feelings. He finds the mealing of self with objective ways to attract sympathy through projecting objects and phenomena.
2. the power of thinking, directivity to ascension and equivalence of surreal needs
What he desperately needs is the thinking space to dream about, although he is living in many fallacies. His works make us dream, and bring the power of thinking to us. His recognizing system assures freedom and transcendency towards the ideal. His recovering will to get out of the real situation becomes a creating motive and makes a vertical and structural beauty alternating ascending and descending. Such objective objects as cellos, trumpets, violins and cameras are put in the space of his works in which directivity to ascension and surreal needs become equal.
Lee Gi-Seung substitutes the image of daily life and surreal life for ascending and transforming. His works don’t settle down on the epidermal depiction but see trough the inner parts of objects. As a result, his works emit light from his artistic attitude. He looks into the essence of materials that appear in his works and the seriousness of life, and explain the ascending sense as the symbol of alienated subjects. Criticising the contradictory current situations sternly with strong colors, on the other hand, he tries to unite human beings, and humans and nature with mild and warm colors. So his works are much more attractive.
His attitude to rule over the works unites all things around him and depicts them with his worm heart. It offsets his transcendence trying ascension. In his own working space, he paints his completed thinking structure repeating ascension and descension.
3. The intensity of his working spirit, The dream to dream with the heating of his artistic technique
He does not paint only the surface of reality. He tries to find an honest humanity that exists in the other side of reality. Focusing on pursuing the power of life and the search of self, he fills the space of his works with criticizing reality and promoting humanity. We can surely find his artistic spirit to transcend tragic situations and examine the problems of reality. He expresses the results of the process through his paintings. He aims at the technical process rather than chemical one.
He excavates the psychological meaning of the origin of existence and concentrates on the images of synesthesia seen in pursuing an ideal. Although he is a painter, he is so sensitive to sounds. His interest on music makes his works even more abundant. Considering Marcel Proust’s words, “Artistic works are not the products of understanding but unconscious emotions,” his musical motive in his works can possibly be connected to his dreams.
He questions the fixed process of exploring ‘self’ and tries to make the changes of chemical techniques. It is because the main stream of his works suggests vision as a path toward understanding the world.
Thinking about his new works mainly, another impression is the diversification of materials in proportion to the extension of subjects. This diversification has become the primary factor to form various layers of life. I believe that the existing value of his working itself will become clear in the coming creative space like magnets which have the sucking force of life.