Stillness in Movement

The story FEEL-YUN conveys this time is regarding the plane. The square plane in art is mostly the surface of painting and as atwo-dimensional space, is the space for eternity, revealing the physical characteristics of material itself. The plane in his work emerges as a medium to represent notions rather than as a physical space. What FEEL-YUN intends to present through this plane is the conception of Taeguk(the coexistent union of yin and yang).

In this sense, this work of work is no different from his previous pieces. While in his metal strip pieces FEEL-YUN has concerned himself with the moment of converting his work into a form of energy and its circulation, this planar artwork focuses primarily on describing the state of stillness in movement.

This planar work appears to be more static than his metal strip artworks rendered by a repetition of forms. The progressively arranged planes are in a striking contrast with the lines of turbulent metal strips. For FEEL-YUN, the plane has enormous possibilities. As if the tranquility of a water surface belies its deep flow, in this work fierce movements and intense energies coexist with its placid surface. By severing the surface FEEL-YUN liberates such dynamic forces.

The plane he shows differs from the one embodied through any physical effects. If a film generates any movements on a two-dimensional surface by bringing together the still frames capturing fleeting moments, his planar work is to visually demonstrate the essence of all things. For this, FEEL-YUN simply adopted a way of illustration.

The elements employed to illustrate the state of stillness in movement are square plane and the ways of cutting and spreading. A square refers to the earth while a circle is symbolic of the sky. The artist translates the square into the meanings of strictly structured frame, pause and tranquility. These are in contrast to the dynamism of a circle frequently used in his previous metal strip works.

The plane is a flat space in which lots of possibilities are condensed to the extreme. The act of cutting is used to dissolve this condensation. As soon as a crack is added to its surface, the plane becomes a space of dynamism where flowing, coming in and out are possible.

This dynamism is further strengthened by the act of spreading. After cutting a solid metal surface, the severed parts spread upward and downward. The parts, however, remain still attached to the flat surface. They are all presented as a rhythmical form.

Taeguk is often compared to the seed buried in the ground. In Taeguk the principles of movement and stillness cohabit in an undifferentiated state. The seed grows to bear fruits. FEEL-YUN through his work demonstrates the seed of enormous circulation. The subject of his exploration has been so far ‘origin’ rather than ‘use’.

I expect FEEL-YUN upcoming exploration would be about ‘use’ and his universe would become our reality and nature. In addition, Iwish to see him talking freely about the Taeguk in a familiar language. YUN’s art has a long way to go and a high crisis to overcome, along with its endless possibilities. Let’s wait and see with a leisurely mind.

By Lee Im-sue, Art Critic