Park Youngsun

ACENTRICSPACE第128位驻地艺术家

2024年八月驻地艺术家

Park Youngsun

No. 128 ACENTRICSPACE Resident Artist

August Resident Artist, 2024

Park Youngsun

关于艺术家 About the Artist

（韩国 South Korea）

Instagram: @parkyoungsun_jiyou

从笔触中蔓延而出的时间。

像水一样在心中一角摇曳。

当我沿着林间小路行走，思考着，

我的脑海里闪过—

那只是一瞬间吗？

当我抬起头时，一缕树枝的笔触在我眼前蔓延。

欣喜的恐惧。欣喜的领悟。

笔触的余影铺天盖地而来。

时间就是这样堆积起来的。

我默默地将我的全部心血倾注在逐渐成熟的书法作品中。

The times that spread out from the strokes.

Swaying like water in a corner of my heart.

When I was walking along the forest path, thinking,

My mind flashed –

Was it a fleeting moment?

When I raised my head, a stroke of a tree branch spread out before my eyes.

Joyful fear. Joyful realization.

The afterimage of the stroke came overwhelmingly.

That’s how time piles up.

I silently pour my whole heart into the calligraphy work that is gradually maturing.

Jiyou的作品有几个特点。

首先，作品富有动感，散发着某种气息。

由于作品的表达并不严肃，我问灵感是什么。老师说：“我希望作品不平淡，要传达我的感受。”在作品中，你可以真正感受到艺术家的感受，每一件作品都有自己的情怀。

其次，她的笔触获得了自由。

在Jiyou的书法中，应该表现的东西并不明显。看不到自己乘坐什么样的船而来，意味着她不再执着于自己乘坐的那条渡河船。这意味着他已经摆脱了模仿或奴隶式的写作，进入了创造的道路，这绝非易事。也许正因为如此，Jiyou的书法才会清新、活泼、独特。此外，汉字和韩文的流畅度相同，意味着他在笔触上获得了自由，这是不经过极端努力就无法达到的自由状态。

而且，现代性和创造性非常突出。用中国云南纳西族的东巴文字写成的作品也是一次新的尝试。在使用古文字的同时，保持了灵活性，并通过与现代感相符的色彩来表达原创性。此外，作品《我啊，不要越过那条河》中的理念是纯粹的创作精神的表现。中间的“公无渡河”似乎表示一条不应跨越的河流，左右两侧的汉字和韩文以及五色背景似乎生动地展现了充满艰辛和不幸的人生。我认为这个想法就是书法的现代性和创造性。

–Jiyou Park Young-sun的书法精神

Oh Hu-gyu（书画评论家，哲学博士）

摘自评论

There are several characteristics in Jiyou’s work.

First, the work is dynamic and gives off a certain aura.

Since the expression of the work was not serious, I asked what the inspiration was. The teacher said, “I wanted the work to not be flat and to convey my feelings.” You can feel the artist’s feelings in the work, and each piece has its sentiments.

Next, she gained freedom in his brush strokes.

In Jiyu’s calligraphy, what should be shown is not visible. Not being able to see what kind of boat she came on means that he no longer has any attachment to the boat he crossed the river on. This means that she has broken away from imitation or slave writing and entered the path of creation, which is not easy. Perhaps that is why Jiyu’s calligraphy is refreshing, lively, and unique. Furthermore, the fact that the flow is the same in both Chinese characters and Korean letters means that she has gained freedom in his brush strokes, which is a state of freedom that can never be achieved without extreme effort.

And, modernity and creativity stand out. The work written in Dongba script (東巴文字) of the Naxi ethnic group in Yunnan Province, China, is also a new attempt. While using ancient characters, flexibility was maintained, and originality was expressed by coloring to match modern sensibilities. Also, the idea in the work “Im-a, Don’t Cross That River” is a pure expression of creative spirit. The “公無渡河” (公無渡河) in the center, which seems to indicate a river that should not be crossed, and the Chinese characters and Korean letters on the left and right, as well as the background in the five cardinal colors, seem to vividly show a life full of hardships and misfortunes. I think this idea is the modernity and creativity of calligraphy.

-Jiyou Park Young-sun’s Calligraphy Spirit

Oh Hu-gyu (Calligraphy and Painting Critic, Doctor of Philosophy)

Excerpt from a critique

过往作品 Previous Works