한지를 물감과 혼합하여 작가만의 독창적이고 한국적인 재료를 이용한 작품으로, 무수히 얽힌 물감의 응어리가 인간의 삶 속, ‘연(緣)’을 나타내고 있다. 빨강과 파랑의 강렬한 색이 물감을 통해 뻗어나가는 모습을 통해 ‘나’라는 주체로부터 시작된, 이 작가는 세상을 넘어 우주와의 소통을 시도한다. 나는 한지를 물감과 섞어 나만의 독자적이고 한국적인 재료를 만들고자 하였다. 반응고된 형태인 나의 물감은 스스로 다른 물감과 얽혀, 다양한 형상으로 캔버스 위에 나타난다. 이 과정 속에서 나타난, 무수히 얽힌 물감들은 인간의 삶 속에서 만날 수 있는 ‘인연(緣)‘ 이라고 할 수 있다. 반복적인 행위를 통해 내가 캔버스 위에 올린 물감들은 결코 동일하지 않으며, 제 각각 다양한 형태를 띄고 있다. 나는 나라는 주체에서 시작된 행위를 캔버스에 나타내면서 세상과 소통하고자 한다. 물감들이 뻗어나가는 형태의 이 작품에서는 세상과 소통하고자하는 작가의 의도를 엿볼 수 있으며, 또한 세상을 넘어 물질적인 모든 존재와 소통할 수 있다는 꿈과 희망을 심어주기도 한다. 한지와 혼합한 나만의 물감을 사용함으로써 나타나는 다채로운 물감들의 형태에 집중한다. 반복적인 붓질을 통해 캔버스 위에 물감을 쌓고, 이 행위를 통해 나타나는 다양한 물감들의 형태를 인간의 삶 속에서 만나는 인연에 빗대었다. 공통된 행위에서 비롯된 각기 다른 물감들은 나의 캔버스 내에서 주체적으로 자리한다. 물감들이 뻗어 나가는 형태인 이 작품에서는 인간의 삶 속에서 볼 수 있는 다양한 물질들과의 관계 맺음을 통해 세상과 소통하고자 하는 작가의 의도를 엿볼 수 있다. 덧붙여, 이 작품은 생명력을 얻은 물감들이 소통하는 하나의 공간으로 볼 수 있다는 점에서 모든 존재에 대한 작가의 사랑과 존중을 느낄 수 있다. 나는 한지를 물감과 혼합하여 나만의 독자적이고 한국적인 재료를 만들고자 하였다. 반응고된 형태인 나의 물감은 주체적으로 다른 물감과 얽혀, 다양한 형상으로 캔버스 위에 나타난다. 이 과정 속에서 나타난 무수히 얽힌 물감들의 형상은, 인간의 삶 속에서 만날 수 있는 ‘인연(緣)‘ 이라고 할 수 있다. 물감들이 뻗어 나가는 형태인 이 작품에서는 인간의 삶 속에서 볼 수 있는 다양한 물질들과의 관계 맺음을 통해 세상과 소통하고자 하는 나의 의도를 엿볼 수 있다. 덧붙여, 이 작품은 생명력을 얻은 물감들이 소통하는 하나의 공간으로 볼 수 있다는 점에서 모든 존재에 대한 사랑과 존중을 느낄 수 있다. 인간의 삶 속에서 만날 수 있는 ‘인연(緣)‘ 이라고 할 수 있다.

Dak, the paper mulberry. harmonizing colors and shapes - Lee, Hee-don “match” Mark Rothko, an abstract painter, pursued a complete abstract painting by eliminating all reproduced points on vague and unclear borderline canvas and thus aroused a wave of various emotions from despair to joy. This emotion can be interpreted as sublimity and sadness. “I am not an abstract painter. I simply try to express a man’s basic emotions”, he said. Lee, Hee-don, despite sharing a common character as an abstract painter, works on a different perspective and a form from the aforementioned. Instead of expressing a basic emotion or idea that is ‘from where and for what we live for’, the painter sets a conceptual idea of ‘match’ as his art theme. Enduring and fighting back his painful path cataloged with intense work and continuous hardships molded him to a post-monochromatic today. His works indicate an influence by great abstract painters Chung, Chang-seop and Cho, Yong-ik. The painter seeks constant communications with the world through his works ‘match’ series reflecting his past. Well around two thousands of his works painted in vertical and horizontal grids prove the point. He associates himself with the endless ‘match’ encountered everyday and tries to share his messages in a form of colors and shapes. And yet, his working methods are never easy nor simple. The painter invented a punching method, which is to make small holes on canvas, and used it as his unique language. By adding a grinded paper mulberry on a surface of canvas that requires a troublesome process, the painter created three-dimensional images. Such persistence resulted in obtaining an invention patent on the material. A combination of paper mulberry fiber and paint creates the originality to his marvelous works. Accumulating and crossing the materials to form shapes and adding colors in between allows a visual-effect depicting a strong vitality. This is a clear way to deliver a natural message from the painter, ‘match’. The expressing method or colors of ‘match’ can be reminded by other paintings or painters and yet, how it is presented and made is original. The painter once stated there were no other ways to express ‘match’ with conventional methods or paints. Colors mixed with paper mulberry fibers and well organized shapes of grid on canvas with his own hands embody the painter’s art and are reckoned as his brand and signature. His hidden philosophical intent conveying his aesthetic definition as a Korean with a mixture of abstract art lies there. It is also a refinding of the flatness in abstract painting by Lee, Hee-don, a character of a solitary disciplinant. Though it shows three-dimensional forms, the painter’s early works started from removing images. And his returning to flatness is based on uniformity of canvas. It used to be the sole and long-lasting method of the painter to create flat structure on a canvas using various colors and surfaces. However, he tries changes to winds, rhythms, and shapes of the flatness. These changes are shown in dynamic formations: pushing back as if breathing against the giant canvas, paralleling two or three components, or juxtaposing colors. It is a technique to let viewers feel their breath in a still and tranquil view. The painter’s pursuit of original patterns to be organic and interactive on the surface enables the experience. And now, the painter is revealing his intention to break free from the flatness and structure. His recent pushing and rolling methods and magnifying subjects sighted noticeably are most throbbing challenges to predict his original perspectives. Diagonal and deviated lines, oval-shaped geometric formations, and combination of splitted shapes and colors are new achievements showing the latter period of Lee, Hee-don’s paintings. A bold line laid in the center, three lines, so called three brothers, laid one after another offer visual pleasure. The formations might be seen as a simple change from a perspective of formative arts. However, it is fresh enough from a perspective of change. Using various colors; blue, red, yellow, green, pink, and so on, represents hope for ‘match’ visually. “Korean monochromatic painting is an ‘art of mind” said Yoon, Jin-seop, an art critic. Lee, Hee-don paints the mind to explore ‘match’ on canvas. The painter has already approached the nature of painting and obtained universality. Associating the vitality of paper mulberry ‘DAK’ with connection with the others ‘match’ is clearly an act of art. For the reason, the painter’s work to repeatedly paint and form shapes on canvas is compared to a ‘silent performance’. “A work is not a result of a random process on the surface of paper. It is a process of absorbing my breath, spirit, and endeavors into a paper that's been mixed and pounded by hands” said the late Chung, Chang-seop. Lee, Hee-don’s works that realizes ‘match’ is no difference. For Lee Hee-don, his works would be completed when tranquil silence and intense colors come together with his original DAK. Stories of ‘match’ crossed and shaped into grids are spoken in the least language increases our expectations. The painter, unleashed from conventional monochromatic paintings, is now forming his own creative art. This is witnessed in the pushing methods, relieving expressions, audacious forms and use of colors and now expressing ‘match’ between mind, nature, and a man. Contemplating his vast works in his studio, a dance of his colors and shapes ruminates on the past ‘match’. Each color and shape are a man’s life and collectively a wave of lives. Lee, Hee-don’s accomplishments and completion to visualize ‘match’ will reach a pinnacle riding this wave and transcending the flatness behind. Kim Chong Geun / Art Critic