Conversation of Promputu, Sensitive Lanjuage

 This fact may be backed by the fact that the most of the poets in that age had unselfishly praised the works of expressionists in those days. therefore, it can be definitely asserted that in her world of artwork there are full of expressionistic view of objects and a certain confidence.

She once commented in her poem collections as follows: "It is impossible for us to deny the existence of the objects in the  assumption that one may not know the power of awakening by the objective entity in the reality and the reaon of the silence of the power of being which enables all the objects to be existing.

The deep emotion against the something that fills out the vacancy of our spirit; from the emotion given by the luminary being distinctly visible in the sky to the emotion rendered by the mystic experience that I feel in the woods of unique imagination to the way to seek oneself, we are living in the moments of complication which we hardly name.

In her artworks, such as 'Lover 11', 'Hope' and 'the Tree' we apparently feel something being expressed by herself of a power which compels the existence silent.  The intensive strength of the coloring, which give us an associated imagines from the works of Gogh or Munch, seems to be gushing out from her paintings.  What on earth is the vital strength which makes the existences mpressive or silent?

Ji added her words: "It is apparent that what we can afford to have so far such history as we have is largely attribute to somthing that moved our heart whether or not it was love that kept ourselves to live, or hope, or neither of them.  Ji's intutive power and the extempore to the objects may be generated from the vital power which she expressed as a deep emotion. the deep emotion she implied is of love or hope, or neither of them.

The deep motion as denoted as this has initself the theoretical point of the principle of contradiction. Her artworks seems to grasp so rapidly the objects of contradicted life, and the instant passion, affection and emotion being exploded from the contradicted life.  

Her works, 'Love II' show us a tree standing at the side of the low mountain extended  Iying aside under the dusky sky.

In this works the disntinguished and notable objects are the very dusky sky and the burning sun, which have been drawn by a rough and rapid delivery of brush.

The dots of brushing seemed to be scratched and painted repetitously overwhelming the whole part of canvas, the tree leaned by the two lovers together has its unqiue delicate shades of meaning with the mixture of the reflective result of buring sun and the dusky sky seemed to remain with a little moisture.   

The images of the intensively lighting sun and the dusky sky gives an increasingly mystic image of the two lovers hugging each other.  

The dusky sky has been a vital object to Ji Eun-Joo as we may find the same from her works of 'Dusky Sky' and 'Hope' where the same objects plays the main role of the narration of the paintings.  

In her works of 'Dusky Sky', a large figure of mountain occupies the whole space of canvas with a similar associate image of Mt. Samkak in Seoul.

The object of mountain cast us an image with irresistible emphasis as if compeling us to be silent. The artist represented the brilliant, gold colored dusk over the common mountain and again the dusk reflect against the watery place extending under the mountain.

It seems that the artist felt an immense attration of the magnficent eliminant.    The writer instantly thought that the same  contect of feeling the will of God in the magnificent dusk.

In her works, 'Hope', the sun is rising acrossed the thick woods.   However, the sun spreads a splendid and bright dusk as drawing a multiple-colored concentric circle.  

Her artworks, 'Lover I' has been concentrated by the two lovers affectionately hugged each other with background of green woods. And, the whole view of painting seems to be stabilized by the hang-down flower,v image from the side of head of person.   

This implies us that the artist has had contemplated the personal figures as a part of nature by representing them without detailed description, rather roughly painted to omit the facial expressions of the two personal objects.