Décollage, Décalage Painting

Décollage: Take-off Décalage: Gap Décalcomanie: Decalcomania I think that a gap is a space created by an unplanned, accidental form, by a relationship of power. I tried to make a accidental form that occurred during the décollage process, something not reminiscent of reality, or make a pure figure without any intention. By relocating these gaps (Décalage), they were intended to represent the relationship between what is seeing, what is seen and what is not seen. About the artist's intentions, or the gaze found through a gap of coincidence. (Seunghun Lee, Art critic) One of the classical theories describing painting, Mimesis, means reproduction. But if we trace the history of art, it has more significance than just a copy of the real. The painting is essentially related to the reproduction of images in the process of moving objects onto a plane, and this can be a basis for understanding some measure of the artist's role. Suhyang Seo is starting her work from the consideration and the experiment of creating images as an author. The theme of "Decalcomanie in the Gap" can be seen as beginning to talk about the difference or a gap between the original image and the represented image, which can be also described as an image deformed in the process. She says she intends to make a pure figure. She presupposes the pure form accidental and not reminiscent of something in reality. She wanted to reveal the relationship between something intentional and accidental, and between what is seen and what is not seen. This implicate that the artist's work will eventually be somewhere between these two gaps. Because even if we pursue something accidental, it is inevitable to proceed with the process by some degree of the artist's intention. Even if we try to draw something not representational, we oblige to represent at some point something similar to nature, human inside, order or chaos. Visualizing something invisible sounds ironic and contradictory in itself. Nevertheless, she continues to pursue her work toward the point of pure form between representation and something not represented. It seems apparently she believes through such work find a way to escape from a stereotyped artist or art trapped within the boundaries of a tool, means, and indicative semantic system. For the method to escape it seems she chose coincidence and heterogeneity. From an image, she rips it off and makes gaps accident, then painting the gaps. It amplifies the heterogeneity through this process. She brings also in addition the residue of these tasks into her work. In this way, she reveals something unintended, invisible and uncontrollable logic beyond the indicative semantic system. It is difficult to assess how much she has achieved her intention between contradictory gaps. Because it is not easy to distinguish between intentional and accidental act, between conscious act and unconscious act. However, she presents the limitations of conscious and contrived acts in the creation of art and search for a path beyond the representation. That suggests essential and meaningful question about the creation of art and the concept of art. Should art be active or passive if it fundamentally changes the perspective of an artist from nature and human beings and their relationships? Is the artist's intention important or coincidence important at this time? Her works have the charm of attracting our attention to these fundamental questions.