Indirect Statement and Possibility of Expression Action 

by Properities of Materials : Recent Kijoo Han's <Paperworks> 

 Bokyoung Kim(Art critic Ph. D)

  Kijoo Han, in his 4th exhibition in 1982, began to explore a possibility of introduction of wood carving and Korean art paperwork. Since then, his conception becomes rich and deep while he pursued a detailed investigation of opportunity of his 5th exhibition, what we should describe about his works during that time, is the significance of methods that his<paperworks> shows. We can consider two aspects on the significance of his methods. One is the meaning of the 'action' to show something through looks of objects or materials that can obtained by traces left by chopping wood plate with an ax or achisel, or imprinting kettle or cuboid things with Korean art paper.

The other one is the possibility of 'expression' that the artist tried to tell with his own language through this action. Let us call simply the former case 'in direct statement action by properties of materials' and the latter case 'possibility of expression action'. Attempt of indirect statement by properties of materials is, on the one hand, an attempt to project surface of things by revealing maximally original nature that wood and paper, especially paper, possess.

  On the other hand, it is suggested that such an attempt is regulated by the artists' own personality to lead him to speak his own language indirectly. And, possibility of expression action, if it is possible to state indirectly and if the artist attempt to use the indirect statement actively. means that it is possible enough to introduce sentiment language close to expression of his feelings.

  If the two aspects could be found in Kijoo Han's <paperworks> and in fact. he actually intend to do so, then we can conclude that he, without quite realizing it, not only desert the main issue. "investigation of materials", but focuses his efforts on problem of expression of his own personality.  And, in the very standpoint, it is no doubt that the significance of his recent <paperworks> can be judged.

  Above all, what his recent works shows is that he is inclined to peep at looks of distorted figure by exposing a certain terrible sight from chopping wood grains using an ax and a chisel seriously, departing form his desire to expose wood grains up to now.

Originally, the work to expose wood grain was done in conjunction with line-work in the latter half of 1970s and first half of 1980s.

  In the beginning, the line-work was attempted by analogy with 'some structural order in backside of life' while in wood grain work of the early period, he tried to observe miserable aspects of his life on the chopped wood grain vividly from this standpoint. In his <paperworks> from wood grains works in the latter period, when wood grains are chopped with an ax and a chisel and are arranged in a distorted way, he tried to expect expression of seriousness of his miserable life that does not appear in neatly arranged structures appeared in his previous line-work and wood grain work.

It also shows aspects of life that the artist has. 

- I make myself peek in my life suppressed by the tension and the stress from the look of them. I can feel my power vicariously to confront with all restrains and realities by the action of chopping and engraving wood plate with an ax and a chisel so that I can encounter throughly wretched life whenever I face vivid torn pieces of the wood grain - (Work Notes) 

  In short recent paperworks shows his own seriousness that he intensely approaches his life and matters with. Reincarnation of his painful days comes back to his minds by reestablishing the situation that display small or scattered. The important things is that by imprinting wood fragments with Korean art paper, original image was reproduced. Today it over, transcription of wood grains and fragments onto Korean art paper makes it possible to transform primary situation to secondary situation. By doing this, recording with new selective situation to secondary situation. By doing this, recording with new selective media such as paper is also possible by imprinting properties of materials of the former mildly. Transcription method with Korean paper makes the primary state of properties of materials indirect. He makes the properties of wood indirect by pasting Korean papers n plates of wood grains and fragments. Thus, the artist has a mean to express directly with signs encoded in Korean papers.

  - Although the fact of being chopped and fragmented are merely cold figure that properties of the materials represent, it become indirect and indirect and is transformed into the spiritual characteristics by properties of a new material such as Korean art paper to reveal the internal look connected to myself secondarily. And I can speak my own language by dubbing and painting on it. -  (Work Notes)

  These aspects themselves are the level of indirect statements by properties of materials. They are as long as the artist can do, the level of expression and meanings that sets of signs of the surfaces obtained by imprinting wood or other media (kettle or cuboid) with Korean art paper shows. Through this, the artist is able to his own language.

Results laid on Korean papers prominences, depressions and shades as records of fragments, forms a set of visual signs and the whole sets suggest free network of significances.

 - Now, my world, that breathes and tells, not cold expression of properties of materials, opens. And, the work also starts to speak. - (Work Notes)

  Thus, the artist goes to world of meaning from the world of properties of materials. To say accurately, he let the something be seen or be told 'with' properties of materials. To say it this way, of course, an introduction of artist's personality is necessary. In other words, the introduction of artist's own personality becomes important to say in secret behind the expression of such wood the paper.

- I try to reflect myself on the properties of materials. - (Work notes) 

Therefore Kijoo Han's <Paperworks> is indirect discourse in speech. It tells a metaphor rather than a simile since it is not the indicative mood. We read or see metaphors in his art works as he sees himself reflected on properties of materials.

Wrinkled, bent, chopped and bored like broken pieces, his life in his young days was filled with shades. Such an image of trembling figure with intense resistance can be read on the wood grains and fragments. Collection of fragments and gatherings of wood grains condense situation of the artist's life into network of meaning and project it on properties of materials metaphorically.

-Why should I continue to do this kind of work ... My life was a series of pain since my childhood .. My hewed and torn facial expression reminds me of my painful childhood. -  (Work Notes)

If so, then to say explicitly, such metaphoric aspect 'express' painful experiences. Every aspect of hi life that reaches resistance with anger, frustration and distortion, submergence and depression writhing in agony to survive from negative experiences, and sentiments such as delight and rapture were dissolved in his experiences. He actually thinks about two methods as means of 'possibility of expression' by metaphor. First, he let spectators feel looks of surfaces of his works to be scintillating lights or energy emitted when his body confronted matters or events. Because of this, all of the surface grains and fragments of <paperworks> from the visual context, take up the position so that they controls emotional pulse violently or gently, for instance, in a conflicting or corresponding way, or aggressive, sedimenting way. The other one is the consideration of using color and iron rod to reinforce the expression of hollow wood grains and fragments. Recent appearance of color plays a role of changes that converts relief characteristics of his works to that of paintings. It is no doubt that his emotional factors functioned in his using deep amber color. And also he tries to insert his own inward feelings by combining patterns of carved wood grains and iron rod through strong characteristics that iron display.

The foregoing two aspects that his recent <paperworks> show, in other words, to express the artist himself indirectly by revealing situation of properties of materials violently and to explore the possibility to express language with sentiments that can be included in this indirect discourse, were examined. In the indirect statements procedure through property of materials as in the former, it is pointed out that the method to reflect echo of back side by exposing the quality of wood or other used media maximally, in short, the method of 'projection', is deeply related to artist's personality. Because of this relationships, it has to be noticed again that expression of the work is always interpreted as a metaphoric tales. Furthermore, contents of experiences that will be included in statements of metaphorical story allows <paperworks> enough to be action as a possibility of expression. Therefore, Kijoo Han recently set up his <paperworks> in order to unify two aspects that we have considered. Then, what does this diagnosis mean after all? Aforementioned before, He becomes less interested in objective condition that properties of materials show and is gradually inclined to ' independent situation' by it. His personal and ethical concern becomes prominent through his attempts to interpret material properties afresh. We are very confident that his 5th exhibition not only shows results of union of two significant aspects but also will become a very important momentum that will lead to a huge transformation to a new phase.

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