Aether In Bloom

Dohwa Jin (Curator, National Museum of Modern and Contemporary Art)

Toward the Origin of Existence

Oh Myunghee’s work embraces and envelops the invisible, resembling the medium of light that forms the backdrop for all that exists. Rooted in traditional views of nature and the emotional nuances of everyday life, her paintings blend traditional lacquer (ottchil) and mother-of-pearl (najeon) to evoke lyrical, mysterious scenes that are at once familiar and enchanting. The process of combining disparate elements and summoning the past and present through the sensations of a moment revives the quiet vitality of a spring day and arrests the heart with the beauty of the ephemeral.

In her work, the delicate and soft detail of mother-of-pearl crystallizes into metaphorical juxtapositions and reconstructions of everyday objects, landscapes, and personal emotions. This approach is her own unique method—an effort to reawaken carefully embroidered inner memories and let them meet the present, bringing together poetic implication and the intimate world of fantasy.

“My paintings sparkle briefly like starlight, but they are filled with cosmic time. It is a journey to uncover the stories hidden in the infinite space between the silent black hole and the dazzling galaxy.”

(Artist's note)

Beyond Silence and Stillness

Previously, the artist often expressed memories, archival images, and anecdotal records through narrative figuration. Her recent work has evolved into increasingly deconstructive and suggestive compositions, drawing out the hidden sounds and movements that linger in silence. Though the technique remains elaborate and intricate, her recent canvases incorporate more empty space, within which a deep darkness—like the abyss of the unconscious—settles. This is both a dynamic process of reconfiguring narrative figuration and a deepening focus on the inner self, intensifying the narrative abstraction.

Through spontaneous brushstrokes and gestures, she conveys the flow of energy (gi) and the patterns of emotional winds, while the layered blots and amorphous marks reveal the essence of existence. The restrained composition—reminiscent of the quiet that follows a wild storm—represents her purest gesture of embracing the unseen world and the beings within it.

Standing before her screens filled with mother-of-pearl fragments and splattered lacquer, one feels drawn in by the energy radiating from the center. It is like gazing at constellations scattered across a night sky, floating through a vast cosmos, or peering into an unfathomable abyss. When circular forms are spread flat, they resemble the shimmering ripples of light on a water’s surface.

“The scarf flying freely across the sky and flower-filled fields is my true self and self-portrait, unbound by constraints or prejudice,” she once said.

Her identity, once rooted in nature, now expands into a cosmic dimension. In this boundless universe, the artist sees herself as a lone island drifting in the sea of space—a microcosm with its own stature. She, the world, and all beings converge into the universe, unified and interconnected through the symbolic and ideal shape of the circle.

The circular forms she incorporates are filled with pure materials and overflowing with cosmic energy, exploring the origin of existence. Perhaps she seeks to build a sanctuary within herself through these symbols and meanings, while also inviting us to redefine our relationship with the universe and reaffirm our sense of being.

“The moon, the cosmos, and the stones I depict are, like the scarves from earlier works, representations of myself. They both reveal who I am and hold my hopes and wishes.”

(Artist’s note)

Colors Breathe, Light Ripens

Through countless splatters of lacquer, the artist accumulates amorphous forms both large and small. The act of painting, led by instinct and embodied sensation, is simultaneously a process of erasing and rediscovering the self. The layered surfaces created with mixed media radiate a kind of heat. Her works evoke rhythmic emotional tones through their vibrant colors, retracing the texture of life and seeking her primal form. For the artist, the “self” is not a point of departure, but a destination to be reached through the act of creation—a trace of the journey, imbued with the same spirit as stacking stones in quiet devotion. Instead of heading straight for a goal, she proceeds haltingly, almost blindly, guided by something deep within.

Oh, who majored in traditional Korean painting, turned to lacquer and mother-of-pearl out of nostalgia for the everyday cultural objects of the 1970s and ’80s—like the mother-of-pearl wardrobes that stood in many households. The subtle glow of the mother-of-pearl and the mysterious hues of lacquer seen in her mother’s vanity case, along with traditional decorative motifs like flowers and birds or the Ten Symbols of Longevity, all embodied a shared sense of dreams and longing.

Lacquer, with its emphasis on material properties, resonates with the artist’s sensibility, balancing craftsmanship with creative spontaneity. As layer upon layer is built up, it seems that the underlying matter and the unconscious rise to the surface, satisfying both aesthetic desire and the yearning for meaning. Lacquer begins with subdued tones, but over time, it gradually lightens and ripens into its true color. Adhering to the surface like a living organism, it breathes and transforms over the years. When fully matured, it emits a radiance and depth that synthetic pigments cannot replicate. Enchanted by these natural colors and lights, Oh found herself captivated by the demanding nature of lacquer.

This transformation—of color maturing and returning to its true self—mirrors the life journey of finding one’s genuine identity over time. Each blot and trace carries the weight of time and labor, at times circling in a dizzying yearning for depth. These works bear witness to the artist’s path, proving her presence in the world.

Oh Myunghee does not adhere to predetermined forms but invents new ones. She playfully transcends the boundaries and conventions between tradition and modernity, craft and fine art, by incorporating traditional najeonchilgi and mother-of-pearl into her paintings. Her works provoke immense illusion while maintaining the flatness of painting, offering rich painterly expression through the combination of traditional materials like lacquer, mother-of-pearl, and gold leaf. Laden with temporality and the human touch, her dense surfaces—imbued with time, labor, and countless stories—awaken in us, as we stand before them, the vivid sensation of a spring day once more.