Conversation of Promputu, Sensitive Lanjuage

 Park, Yong-Sook/Art Critic

  Ji Eun-Joo is a distinguished and capable artist who has already held twice individual art exhibitions in America. She also has a literary talent as much as she published her own poem collections in as early as 1989 with title of Flower Breeze.

Notwithstanding the reason that her name sounds us unfamiliarly is  chiefly due to her immigration to Sweden in 1982. It has been unknown to the writer about the details of her life in the overseas for the past decade but somehow we may dimly guess a rough description of her life by her poem collections published in Korea and the invitation extended to her by the Pacific Age Committee to open her own individual art exhibition in this country.  

In an outspoken comment, Ji's activity of expression in art is rather inclined to the style of thick extempore in composing the canvas by intuitive contemplation than to do it by composing the canvas elaborately through the formative concept. Ji referred to on this point as follows: ~My thoughts would at times leading my mind, becoming frequently  flames or in other occasion it becomes water.

Or, at times it becomes storms, or incredibly becoming my own body. As it frequently becomes rains and snows to make my mind sad, and the color of sky seen or read by my tearful mind would at times reflect dark color.

The mountains and the sea under the dark sky are, of course, reflected darkly that makes my heart disappointed, and indeed, when the light in the dark reflects to me, I can enjoy the extreme feeling of fantasy like the dead regained and revived his life.

My literary and painting works would repetitiously manifest and eventually disappears with the thoughts and mind of mine.

Her denotation of thinking as this suggest us that her understanding of the objects, and her giving of signication to the objects is seemed to be much or less related to the unusual emotional aspects of the age of expressionism.

As Gogh and Munch did, all the objects existing in the world (nature) are not coexisting by forming symmetry, but they are only a part of subordinates of the unusual emotion or intuition of Ji Eun-Joo. We will feel the same so clearly when we read Ji's poems.

Although the writer indicated that her artworks are created through her promputu and intuitive resources rather than expressed through her formative concept.

This denotation may become much more apparent when we read her poems.   It is apparent that the formative concept has the restraining strength upon the promputu sensibility or an intensive emotion.

However, on the contrary, it should be noted that the promputu sensibility and intuitive power at times become a source to form a formative concept.

It appears to the writer that her paintings are belong to the latter.

She paints the paintings in the same method of writing a poem.

It is not exaggerated to say that with a same subject matter she expresses it by writing at one time, and paints with pigments a painting.

Certainly, her attitude toward the art as this will be desirable for the artists in the expressionistic age, so effective and inspiring.