Lines speak, colors are silent: Between Miro and Altungu
shotarokimijima
I can't help but be drawn to Juan Miró.
That line, that color, that placement.
Every time I see it, a part of my heart "unravels".
Emotions before they become language.
A scene before it touches our memory.
Looking at Miró's paintings, the original landscape of human beings rises up.
It is somewhat like a child's doodle, yet
cosmic, musical, poetic, and transcendent.
Miro: A Poem of Color, Original Text of the Senses
Miró is also known as a "painter of lines.
However, his lines do not have a "shape" but exist like a "song.
There are no rules, no logic,
just dancing.
They are laughing. Sleeping. They are awake.
Miró is a "colorist.
This does not mean that he "uses" color, but rather that he is a "breather" of color.
Red, blue, yellow, and black.
The mere presence of these elements opens up a "space.
I believe that the essence of Miro's work is not what is depicted, but the "presence" that is created around it.
That is why I cannot go beyond Miró.
His work is already a complete universe,
even the margins we enter are built in as beauty.
It is both awe and a kind of despair.
The solitude of a master artist who feels that "no one will ever reach this realm again."
Altung: Lines of structure, fragments of reality
On the other hand, Hans Altung.
What I feel when I see his works is not "emotion" but "attitude.
That line has a will that says, "This is how I want to be.
It is constructive, repetitive, and experimental.
There is a tension that makes the line stick out in reality, without being drowned in emotion.
Althung's lines are like the touch of a hand after it has touched the "strata of painting" over and over again.
They are not accidental, but based on determination.
If Milo is a "dream,"
Altung is a "record.
If Milo is the "inner universe,"
Althung is the "contact mark with the outside world.
And I somehow feel the future in the "wear and tear" of this reality.
There are still unused margins in Altung.
He is not consumed.
Rather, I have a feeling that this is a resource that will be dug up in the future.
Myself - Between the origin of emotion and the future of structure
Miró is at the "origin "** of my deepest senses.
He depicts memory before words, the body before movement, the "world itself" before
the gaze.
Althung is beyond the "methodology "** that I will be moving towards.
Sharpening the line, enduring the structure,
still believing in the beauty of being stuck in the body.
Are the two contradictory?
Probably, no.
Rather, I am standing between the two of them.
- With a sense of primordiality,
- With calm construction,
- With immaculate poetic sentiment,
- With wear of reality,
With all of these things in my arms, I am now trying to draw my own line.
Conclusion: The line is in the body.
The methodology of Bushin-Denryoku™ is more than
words, more than movement,
it is an inquiry into the "line-drawing body" itself.
It is a trajectory of emotion, a hope that sways within the structure,
a line that is breathed rather than drawn.
The lines of Miro and Artung overlap in
my body now,
and are creating a new movement.
