The way we see painting is often subjective. Since the realm of artwork surpasses verbal description, critics have no choice but to rely on subjective interpretations based on philosophy, personal history, or even ambiguous emotional states. That is why the domain of art remains more aspirational and is regarded as the result of metaphysical conscious acts. The creation of intercommunication accompanied by an objective measure or system at a certain level would facilitate more abundant criticism and appreciation of artwork for both viewers and artists.
Following her own firm beliefs, the artist Suejin Chung created a visual theory based on Budo theory. This theory establishes system that allows for new intercommunication through visual images. Similar to learning to communicate through basic alphabets, numbers, and formulas, Chung's system aims to create the possibility of even more specific communication by assigning basic units and a system to visual images. Of course, artists from the past such as Heinrich Wölfflin and Wassily Kandinsky attempted studies of visual theory. They were aware of its significance for visual artists. Though Chung's approach encompasses diverse fields including mathematics, science, and both Eastern and Western aesthetics and philosophy, Budo theory is indeed a distinguished and ingenious visual theory. Twenty years have passed since I first heard about this original idea. The theory is still evolving and, through the work of Zikseong Jeong, Calvin Jeongheon Lee, Ido Park, and Younghun Kim, practically engages actual artwork productions and intercommunication.
This exhibition displays the varied applications of five artists who have delved deeply into the theory over the past year. Alongside existing works, there are artworks reflecting symmetric composition for resemblance, the common code selected and applied by the artists, among other numerous codes appearing in the theory. I found a similar flow in the works based on the common code, despite differences in the artists' perspectives.
My heart felt full as I witnessed everything coming together in the midst of a heavy schedule. In-depth discussions took place regarding very real and concrete areas such as color, shape, texture, and so forth. There were also lively moments of criticism that led us to anticipate the possibilities for a new way of seeing painting.
Seen through the lens of art history, no art movement ever forms without the individual vision of an artist. Once settled into theory through criticism, an artist's strong vision characterizes an epoch. Although the evaluation may require a certain period of time, its autonomous presence in the contemporary era, along with ardent engagement from the artists, is what the exhibition appraises and emphasizes. I hope persistent study and exhibition will evolve and eventually arouse much more extensive interest in and passion for art for both artists and aficionados.