Aesthetic Characteristics and Algorism Inherent in Yoe Dong-mi’s Work by Hong Kyung-han, Art Critic (Excerpt)
Artist Yoe Dong-mi’s work is marked by three characteristics. Understanding and acceptance of her work is eased when these are investigated. I would like to point out these as significant points of her painting’s form, content, and algorism, so as to arrange a main chapter of my criticism of her work.
The first is she takes her work’s motif from myth and oral legend such as Hubaekje or Later Baekje’s Gyeon Hwon, the tale of a woman who becomes a serpent looking for sacred medicinal herbs to save her husband, without confining her work to them. The Tale of Zinnia is similar: the Great Jade Emperor’s son saves a maiden offered to a monster serpent but fails to attain his eternal love because of her death.
Strictly speaking, narrative in her paintings is based on our stories and journeys, not a rise or fall in history: as she said that everyone swims alone in the river of history. History is formed when lives gather and a myth develops. Her work is what she feels gathering such narratives. Yoe places her life in myth. She separates subjective memory and feeling and places them in time without conveying objectified words. She generates myth by projecting subjective concepts and involving reality, producing for example The Karma series.