The creases of time in the space.
Lee Sun-young (Art critic)
Shin Dal-ho’s work places another square, such as a window or a door, inside the stable architectural structure of a square and looks like a tree in it. Outside there is a steady flow of stairs. Due to the nature of the sculptures, the stairs are also at the back. Just as his work is against entropy’s laws that govern space and life, it feels strongly that he intends to return to an orderly structure. It is hot to think of the meaning of ‘restoration-Image’ that refers to recovery or restoration. The return of the law to natural law, which is not against reason, combines the human rules of art. As indicated by the corresponding staircase, it is a narrow path, ascending and ultimate goal. The architecture that surrounds a person or nature is architectural, but it is not a reproduction of a particular architecture. The work extracts only the typical elements of architecture.
There is a square outside that protects the human inside, and steps that distinguish in/out and up/down. Above all, the square frame surrounding humans is repeated in various dimensions (mainly in size) and shows that it is the house that extends humans to outer space like a machine. House-human soils made of copper plates, marble and granite, are not permanently fixed. The flow of time against spatial retention in the sculpture of the new moon comes from the pictorial effects of the surface. This is where the writer takes a lot of credit and is well received by the audience. In the case of copperplate agar, the texture produced by melting plasma at high temperatures on the metal surface produces subtle colors. Because it is a thin copper plate that is 2mm thin, the hot and cold material does not change evenly, but produces an accidental effect.
The scratch on this constructed surface represents the flow of time that targets space. Time juices are repeated in humans, which overlap trees. Both trees and humans are organisms that are surrounded by wrinkles. In case of stone work, scrape with a grinder. In Shin’s previous work, the exterior lines of the painting are often found to be bumpy, as the rat may have meant, and the scratch on the surface of the painting is also seen as a variation of that expression. Scratches are both on and off the work, and sometimes strong scratches puncture the metal surface to reveal the space inside. Light penetrates through the holes and gives the night sky a bright star-like effect. The work [Restoration – Image 10-08] has three people in an architectural structure with two plates connected. The stairs face the man’s window. A work made of marble [Restoration – Image 11-01] bears the imprint of wind on the wall over many time periods.
In the case of stone work, it may be expanded to actual architectural dimensions. The 2m-high work, made of granite, [Restoration – Image 11-18] can climb stairs and even sit down. Organic elements such as flowers can be seen at the front, but the structure of people, stairs, and windows is still repeated. In [Restoration – Image 10-18], a window is drilled into a square frame with people and stairs, and flowers are placed in the rest of the space. The work [Restoration – Image 10-14] has a square on the inside of a giant flower leaf and people are inside. The pictorial effect here is to draw shadows into the work by repeating the petals with fine lines. At the core of the structure, or frame, in the work of the new moon is a person or tree. They are people by procrastination. The two nearby are like lovers, and the three are like family. In his work, humans are rooted not in harsh nature, but in an orderly structure such as gardens and houses.
The tall tree grew rapidly and was planted in the 1970s by trees planted in trees, and is deeply engraved in the writer’s memory as a representative tree. A tree with its roots on the ground and its head in the sky never stopped comparing itself to humans. Trees became the archetype of the column-shaped monument, and were reproduced like miniature pieces in the work of the new moon. The symbolism of the tree connecting the three generations has been endowed, and human beings, which are compared to this, are not human beings, but gods, as the neo-conservative theory says. Human life, or human life, is imbued with sacredness in the center of the likeness of a tree. The creases of time carved on a plate, which are likened to a wall, are repeated to a tree-man, but it has a circular structure that is joined at the beginning and end. As religious scholar Mircia Eliade saw wood as “impleting a living universe where a shutdown regenerates,” the tree becomes “the eternal tree of life.”
According to Eliade, infinite life is also an expression of the concept of absolute reality in ancient existence, so trees become the symbol of this absolute reality in spherical cases, the center of the world. The New Moon’s Tree-Human is a sacred place in the center of the world, just like the space tree. Any meaningful existence or activity that is valid is only when an object has the prototype of the sky or when an action repeats the original cosmological activity. Thus individuality is sublimated to universality. The structure and ecology of trees with their heads up in the sky are compared to human spiritual transcendence, and these movements are repeated through ascending stairs. The stairs are almost three. According to the author, two are too few and four are too complex. It shows that in his work the staircase works as a kind of symbolism, not as a reproduction of architecture.
In “The Truth and the Magic of Sue,” a psychologist quotes “three restores what two divides.” Beyond the confrontation of two, three denies and overcomes division. Sommel sees it as a third being that a child combines a father and a mother. The tree-men facing the staircase are images of lovers, or couples, and it is also explained by the defensive synchronism of three, which often links to the image of the family. According to [The Truth and Magic of Sue], the Pythagorean school claims that life was created when an absolute one was separated by two opposing forces, creating the world and bringing two forces together in three. So Dante understood 3 as the principle of love. Love is the power of synthesis here. It used to be embodied in religious symbolism, such as the third generation of saints and saints. Three is deeply embedded in the work of Shin Dal-ho, which is a comprehensive waterway composed of unity and stability.
– Art and criticism number 34.-