"Going nuts," this naked title delivers a certain pleasure of frankness to us being familiar with packaging. A woman leaning one hand on her head is spinning. A way of carrying a message seems one-dimensional. Obviously she cut artistic descriptions daringly. However, delightful honesty driven from the structure is not everything of Soyoung Park's artworks.
Then, What is it called? The only thing we can describe in words is a general outline and we can just reach the delicate part only through consciousness. Deongeori(Mass). It is body of work entitled by Soyoung Park.
A new pose is born when her vision, dealing with even artistic intuition and tangible/intangible structure selectively, meets contemplation beyond observation. As a tangible body is exposed in her sight, -not exploring the informal- a vaguely outlined figure having more realistic quality than a realistic dessin is created. This Deongeori with stronger narrative structure can be interpreted variously according to the audience, such as a figure going nuts or a statue of the Virgin Mary or a relation with her former pieces of artwork. In addition, it shows nicely a variety of aesthetic textures and subtle shades of the surface through a 360-degree revolution. Tinged with theatrical elements, there is added moving time in the still space and imposed the existential meaning. So, 'Going nuts' becomes direct and metaphoric at a time, not banal but bold. Moreover, the pain and agony of creation or personal sufferings are expressed with large shape and soft, delicate skin. And it devised to make us feeling a heavy heart and sensitivity at the same time.
Also, we can find a hidden layer in her works history, that is 'White viewing stone' series. These works look like a intersection of her two recent themes, 'Deongeori' and 'Over and over', which shows rediscovering values and creative activity simultaneously. Collected pedestals for viewing stones(Suseok in Korean) are utilized as a symbol of her organic choice and discarded values. The feeling of Deongeori added a sense of abstract beauty and similar shapes of them build up as a form of a viewing stone temporarily, keeping Soyoung Park's distinctive expression of her own at once.
Seemingly individual masses got a different quality as 'White viewing stone' through objects. And they draws various interpretation, meeting the space 'BoAnYeoGwan: a shy woman(Viewing stone series 10), entangled people(Viewing stone series 9), male genitals(Viewing stone series 2) etc. Besides, the position of her viewing stones that seems like to be in the room originally - the work placed on the window sill(Viewing stone series 13) or the work looked like copying landscape out of the window(Viewing stone series 12) - shows well not just the value of work but the space completed by the work and the influence that space affects artworks with natural composition. So the space of an old inn used like this has a role of the vessel and takes a function to unfold the phenomenological interpretation infinitely.
The organic feature with space can be searched in the shell works. In an old space exposing bone structures, the shell of Soyoung Park used them by a frame of artworks. It has become possible because of her own powerful view reading space. Her shell attached wings like that is not just shell any more, so flies in the space as genuine wings. As a result, her flexible attitude toward shell works fades in without saying that it breaks the border of inside and outside. This loaded more power to her shell destructing barriers.
Her main plastic language is to extend the space of works intentionally using the tangible and intangible, the discarded and remained. And she drives even the extended space can be descriptive beyond a simple episode. So the shell works of Soyoung Park doesn't literally mean shell and generates further the tensioned composition.
In this way, she doesn't miss her thinking about space and necessity at all, and leads the relationship between works organically. The space styled an inn has a precondition of personal anonymity but also has properties where our contemporaries staying and rambling. That's the point Soyoung Park has been noticing: the thoughts and agony of the times which the anonymous persons and our contemporaries become intersection. Personal phenomenon and thinking on the process discovers our present history represented as the anonymity of individual space and develops to reinterpretation and rediscovery on the abandoned. Deongeori assumed to a real meaning of art would be a new form of viewing stone for someone or the viewing stone would represent anonymous people to be forgotten in the future. The works of Soyoung Park contains numerous stories such as personal and anonymous time or the conduct of abandonment. And her works: 'Shell', 'White viewing stone' and 'Going nuts' set on the each rooms of an inn, are concluded in a new narrative and bears the appropriateness for fully completed dramatic ending.
Moreover, fortunately her works are beautiful enough, so the effort to be needed when we manage to understand some artworks makes secondary. As watching and enjoying the story she made first, then we may get a free gift to find the logic of the tangible and intangible, filling and emptying, ripeness and life at a moment. It's totally valuable as itself.
eun-yeong, Gimchoe / Aesthetics, Chief curator of Zaha museum