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The place where Roh Choong-hyun focused on in zoo was a space exposed to everyone but not stands out in general, animals’dwelling place. As a matter of fact, this artificial place is nothing but a form of humane, somewhat forced gesture to animals. Those materials such as cold cement floor and tile walls are only chosen for its convenience in cleaning, and in this context, recycles or wastes like plastic toys and water bottles are provided to young ones for play.
What Roh sees in this rough place is the stage of life, full of mingling feelings of sadness and happiness of smelly human beings. Just like the absence of men in the Han River City Park, the main body of this space, ‘animals’, are excluded on a canvas. Instead, what catches Roh’s attention is ‘empty space’of the stage where they have left for the moment.
Reflecting the artist’s calm point of view, his work titles with either paradoxical image as , or theatrical as , , and bring a new interpretation of ‘objects and space on a stage’in his paintings.Such components as faded color tone kept in a full canvas, hazy light spread over a space, and weakened shape by vague shade are all depicting a space and objects on the stage and, indeed, gain tension by segmenting lines. The reason why daily scenes which could be easily converted to monotonous screen don’t seem typical is on its composed expression of the stage that is fully ready to accept the restrained emotion and viewer’s eyes.

By Choo-young Lee / Curator, National Museum of Contemporary Art, Korea
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