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I’m interested in the vitality appeared by the movement of life. 
In the beginning, I overlap several scenes of the players fighting on the ground. Those make complicated images and disorder the body. Then, I try to disentangle them with some ambiguous border of figuration, by hesitating between representation and abstraction. 
The players move slowly or fast to control the adversary and I follow that movement sometimes with hesitation, sometimes with confidence. I look for a decisive point. As usual, I fail to find it, but it leaves some traces like the touch of the brush or the force of strokes.
I’m interested in the vitality appeared by the movement of life. 
In the beginning, I overlap several scenes of the players fighting on the ground. Those make complicated images and disorder the body. Then, I try to disentangle them with some ambiguous border of figuration, by hesitating between representation and abstraction. 
The players move slowly or fast to control the adversary and I follow that movement sometimes with hesitation, sometimes with confidence. I look for a decisive point. As usual, I fail to find it, but it leaves some traces like the touch of the brush or the force of strokes.
I’m interested in the vitality appeared by the movement of life. 
In the beginning, I overlap several scenes of the players fighting on the ground. Those make complicated images and disorder the body. Then, I try to disentangle them with some ambiguous border of figuration, by hesitating between representation and abstraction. 
The players move slowly or fast to control the adversary and I follow that movement sometimes with hesitation, sometimes with confidence. I look for a decisive point. As usual, I fail to find it, but it leaves some traces like the touch of the brush or the force of strokes.
I’m interested in the vitality appeared by the movement of life. 
In the beginning, I overlap several scenes of the players fighting on the ground. Those make complicated images and disorder the body. Then, I try to disentangle them with some ambiguous border of figuration, by hesitating between representation and abstraction. 
The players move slowly or fast to control the adversary and I follow that movement sometimes with hesitation, sometimes with confidence. I look for a decisive point. As usual, I fail to find it, but it leaves some traces like the touch of the brush or the force of strokes.
I’m interested in the vitality appeared by the movement of life. 
In the beginning, I overlap several scenes of the players fighting on the ground. Those make complicated images and disorder the body. Then, I try to disentangle them with some ambiguous border of figuration, by hesitating between representation and abstraction. 
The players move slowly or fast to control the adversary and I follow that movement sometimes with hesitation, sometimes with confidence. I look for a decisive point. As usual, I fail to find it, but it leaves some traces like the touch of the brush or the force of strokes.

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Close match Painting

Suhyang Seo

South Korea

Painting, Acrylic on Canvas

Size: 51.3 W x 35.2 H x 1 D in

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ABOUT THE ARTWORK

I’m interested in the vitality appeared by the movement of life. In the beginning, I overlap several scenes of the players fighting on the ground. Those make complicated images and disorder the body. Then, I try to disentangle them with some ambiguous border of figuration, by hesitating between representation and abstraction. The players move slowly or fast to control the adversary and I follow that movement sometimes with hesitation, sometimes with confidence. I look for a decisive point. As usual, I fail to find it, but it leaves some traces like the touch of the brush or the force of strokes.

DETAILS AND DIMENSIONS
Painting:

Acrylic on Canvas

Original:

One-of-a-kind Artwork

Size:

51.3 W x 35.2 H x 1 D in

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Her painting is based on the relationship between the abstract image created by the accidental effect and the intentional intervention of the artist. Instead of a specific figure, she let the painting tool speak for itself. The movement of the brush, the flow of color, or the difference in density between colors make an unexpected image. Then, she arranges, separates, or groups these abstract elements so that they communicate with and connect each other in the painting. The arrangement of color is an important element in the artist's intervention. Because in the layer of colors, each color is connected to another color, and it also creates an abstract form that is distinct from the background and other colors. She chooses colors for their suitable position and to give a certain nuance.

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Artist featured by Saatchi Art in a collection

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