HUH, MIJA | 허 미 자
For me, painting does not mean reproducing nature but realizing painting itself. Thus, rather than containing the world in a painting, my work aims to confirm the point at which nature starts and ends as a painting.
Thus, nature expressed through painting is a hint where I must reach. And it is not the completion of things but faint borders of shapes that are prolonged in the flow of time.
Thus, I hope to be freer and less restricted from the description of existing objects. Lines begin from objects, but a brushstroke is freer from the world and goes forward connoting the dialectic ambivalence of an object. This is because I hope to make a painting that reproduces yet avoids reproduction.
At this point, nature and I continuously change the positions of an object and subject. This is because where I find nature is here, and where nature finds me is here, too. My painting becomes materialized but it repeatedly scatters and gathers like my alter ego containing my soul.
The canvas is divided, being fractured, like the ground is split, and is gathered together again. Images on it become faint and an object and space are permeated into each other. Because tree branches wriggling on the canvas go along with the huge waves of nature like the ground, my painting tries to overcome the limit that distinguishes space and an object.
The movement of life is nature itself, and the movement of a brush is so too. Thus, for me, nature that comes into a painting is not an object for reproduction but an object that lets me find myself as a living forming, and a passage for liberating nature within me.