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유목동물+인간 2007-23, 2007, 한지에 수묵채색, 145.5×112cm/Nomadic Animals+Human 2007-23, 2007, ink and pigment on hanji, 145.5×112cm To understand such paintings of Hur’s more thoroughly, it is important to understand the logic between the mind and the body. In fact, the desire of our mind and body is much more liberal than our reason and intelligence, and is rather nomadic because it reaches for much freer dialogue.

As post structuralists like Deleuze once stated, they dream of endless escape from conventional code and repressions dictated by the society and resist all powers under propaganda of generalization, producing random and new connections. Seeing the world as an instinctive and complex network is an important guideline to understand Hur’s work.

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유목동물+인간 2007-24(정림사지5층석탑1), 2007, 한지에 수묵채색, 162×122cm/Nomadic Animals+Human 2007-24(Jeongrimsa (Five-story stone pagoda of Jeongrimsa temple site1), 2007, ink and pigment on hanji, 162×122cm He starts with recalling an impressive incident or object of past to restore the world of bodily sense and image. Those are images ex\-isting in his memory as dormant forms. Objects shown frequently in his recent works began to appear after his trip to Japan in 2002. On the trip, he got strong impact from witnessing how man and animal could harmonize without fences separating them in Gohuku temple in Nara.

Such intense memory of ecological image was impressive enough to change his interests. In his series, Hur criticized reality and satirize hypocritical man. His works changed rather positively and ecologically after gaining images from the trip of 2002 to Japan from being expressive and de\-constructive.

After he recalls ecological image carved within his memory, he freely moves his hand following the evolutionary flow of mind without fixating the meaning to any specific context. Consequently, unexpected formation is arranged instantly. Such impromptu and coincidental composition is given its right by the logic of mind, not of vision.

Hur(ARTIST HUR JIN,許塡,허진 작가,한국화가 허진,HUR JIN,허진 교수,허진 화백,A Painter HUR JIN)is now immersed in the autonomy of image and variation of movements developed by the logic of mind. Hence images in his works do not have any axis or centre to hold standards but are mixed around and across in every direction.

Those images holding ecological discourse is collapsed by the open composition and sudden, sensual strokes as they are painted upon surface to form new order. Dots shown in all his recent works enfeeble specific reality and make the objects anonymous to act as a catalyst enabling transcendental sympathy.

△Gwangjin Choi(Art critic)

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