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Rhapsody
in Hypostasis

Close your eyes, penetrate the darkness, the vastness of the infinite and matrix-like space where gravity distorts time and space, and where light reserves the right to awaken the void, to engender it, and to transform silence into “Rhapsody in Hypostasis”.

Corinne Timsit, Chief Editor of ArtPremium Magazine

Is Creation punctual, constant, recurrent? Does it possess consciousness with the ambition to conquer and perpetuate itself? Does it have an objective?

The unconscious memory of Yang Soonyeal has engraved in her the story of the beginning of Creation, this cosmic consciousness imprinted in the particles that inhabit us and are part of a whole.

Hypostasis is an underlying substance that supports the whole, and in the case of Soonyeal’s work, it is the link between each of the themes revealed in her imagination and in one of her central works, “Mother Ottogi.”

A sculpture taking on all dimensions, representing a human form, with rounded contours in three steps forming a triangle and offering a geometric figure in its spiritual intention. Its base supports the whole, curved to trigger the pendulum and the movement of gravitational fields that contort time and space. 

“Mother Ottogi” is the demonstration of unity that unfolds into two opposites like Yin and Yang, Man, Woman. Maternity for Soonyeal, in the intrinsic sense of the connection with the past conversing with the future and educating the present between the material and the spiritual, has no feminine or masculine definition but as the central point of her artistic concept, it is the gestation to which humanity lends itself.

Erwin Schrödinger, in writing “What is Life?,” suggested that in cells, there could be atomic structures that organize themselves to reproduce. We have an incessant search for the other. The feeling of loneliness shows that we have been designed to function in a network, and we are pieces of a puzzle that only make sense when connected.

Yang Soonyeal has detected this perception of the continuation of Life given to each individual, a regenerative continuation she calls “Maternity,” and she has adopted and materialized it in “Mother Ottogi,” wishing to awaken a universal consciousness. One characteristic of inert matter is its ability to compartimentalize. It organizes itself to create differentiation. When water and oil are mixed, they separate, demonstrating that inert matter has the ability to self-organize. It seems to result from the automatic mechanisms of replicative chemistry. The laws of chemistry and physics being the same throughout the universe, the “Mother Ottogi” exhibits the consciousness of rhythm that allows giving life to matter and creative thought.

“Mother Ottogi,” like “Homo Sapiens,” manifests through multiplication, a representation of an ideal being that has reached the absolute perfection of this tiny and undefined space between matter and spirit.

“Homo Sapiens” is a sequential theme of Soonyeal that she has been exploring for 15 years, searching for the uniqueness of humanity, freeing itself over time from its animal instinct to become a better being in the scale of human evolution. However, Soonyeal shapes each “Homo sapiens” with her hands, giving them life using various materials in unique configurations and expressions for each of the hundreds of “Homo Sapiens” she has already sculpted. She intervenes in the birth and death of these ephemeral beings, of this civilization in the making created in the image of humans and their imperfection but, this time, shaped by an ordered intervention of a structured and organized, “divinely” omniscient action.

This insatiable work of evolving “Homo Sapiens” in time was composed with the idea of the original chaos, just like the work “Brainburst,” large-format paintings, exalted, scattered with a tumult of colors and vibrant materials in a tumult that tells the secrets of a conception in formation or primordial chaos. This prescience led Soonyeal to nourish both the matter of “Homo Sapiens” and the paintings “Brainburst,” thus whispering the story of Genesis.

Nature has an implication in Soonyeal’s creative multimedia variations. It dictates her laws, her chromatic choices, the teachings of light, and the choice of materials. Whether with clay, bronze, aluminum, plastic, fabrics, ropes, pigments, or video, she probes an existential need to live in a dimension reformatted by subtly extracting the energy of nature. Thus, with the paintings of the “Dream Scape” series, SoonYeal expresses her nirvanic hopes on round or cut canvases memorizing the lunar sphere. This gaze on the moon, which is a vacant, uninhabited space where humanity can rebuild and rethink itself in an elsewhere that is the mirror of the Earth.

A dreamlike and nostalgic vision conveys the ethereal emotions of Soonyeal in the works she calls “Scarlet.” Large-format paintings that invade the canvas and both flood it with spacious almost monochrome or gradated warm and bright colors, evoking the primordial atmosphere of the earth where life subtly settles in an articulated silence.

This constant search for creation is punctuated by major events but also by daily life marked by simple things that Soonyeal experienced as a child in Andong in the Gyeongsang Province of South Korea. This period was imbued with a traditional culture, quite deprived of means, where all found materials were transformed into toys: Ojami, Ddakji, and Guseul are the works that the artist celebrates and assembles with great tenderness and nostalgia, referring to a time when everything was simple and all materials had an innocent and happy purpose. This happiness, almost paradisiacal, emanates from videos of children playing and chirping with joy. Jump ropes laid on surfaces that welcome them without restrictions, hopscotch drawn on the ground, all this in perfect harmony and conversation reminds us of humanity in its innocence and emotional generosity.

A universal work told in a planetary dimension with cosmic and multidimensional consciousness, Soonyeal declaims her poetry in a rhapsody, meditating and anticipating that one day Humanity, guided by emotions, will continue Life by giving primacy to harmony and altruism.

OTTOGI - Courtesy of the artist