Repetition and rifts, new interpretation of color space
― Doctor Pre-application notes of Tae Im Ha

1. Historically the interpretation of color space by colorists has on one side the musical composition of color and tendency of constructing geometrical pattern as the center on the other hand the tendency to express the substance of color and subjective mental urge of reciprocal action. Examples for the first are Orphism and Rayonism, for the second Enformel and Abstractionism. Tae Im Ha discarded those interpretations of color space in his doctor pre-application, and presented a third method, which is the method of repetition and rifts.

2. In the first two methods to format color space opposite poles of shape and unshape have been selected. The tendency of a constructor merging musical movements and geometrical patterns and offering active visible methods of mumps, the patterns of the expressionism is to create mental scenery images which are lacking shape which is opposite to the constructionist and automatic techniques. At a glimpse such rational and irrational both extremes are classical for Formtrieb and Stofftrieb binarity cases. Most importantly is not to find the mediate of the binarity of the synthesis by F.v.W. Schiller, but a third method that has not been paid attention to. Tae Im Ha’s method is one of the keys groping in such a direction. This method naturally choosing a third method, instead of injecting shape or non-shape in the color space, crossing millions of coloring unit surfaces of color material the layers of color material and looking for the rift gathering. Rifts cannot be made by men on purpose, but by artificially accomplishing a process it is a by-product, and it is something mystically revealed between volition and malice. But it is as a whole not a coincidence but also nothing of perforce. Rifts exist between logical necessity and illogical contingency. Tae Im Has’ color space interpretation using the logic of rifts has the purpose in the action of coloring and erasing to increase millions of delicate dimensions. Those delicate dimensions function unconsciously as a bundle and have a symbolic meaning as a picture.

Millions of crossing and reiteration of color reflects the delicate mental state of the painter meaning the acting person. The original colors are only coloring matters but it has to be kept in mind that being delivered to the brain through the retina the original memories of the nerves create each different looks. The connoted unconscious sides in paintings and the interest in imaginary interpretation is because pf this. Here the most important problem seems to the symbolic dimension and relation of color. It is because different than other elements color has irrational and ontological elements at the same time . In the of the researcher it says that the symbolic level of delicate dimension include ontology elements inside.

3. To create rifts the author focused on the method of erasing and relief it as something different then panting it by making it appear through patter, scripts and image. The continued brushing and dispersion of those in thin and thickness in the rifts difficultness to the point zero on the one side, the previous color got overthrown and once finally entirely replaced. Through drawing his screen opens the difference making the spirit and ballot of common and unknown rifts. In this case the screen is the result and by-product of rifts. Famous color space thesis such as , , start at relatively large rifts and pass by dense rifts to get to delicate rifts and deal with induction process of many rifts. In the first case such as red, blue, yellow trees, with the impression of half trees and half buildings. Those works watch for the reflection of rifts when the color belts overturn each other and rifts get caused from space to space. In the middle case rifts of blue and red complementary color comparison postponement pattern when water shape pattern get crushed get presented and show the chaos of the beginning of the world. And the last has different thickness of horizontal and vertical cross stripes, moreover lay up millions of dense small lines and shows the tension of rifts in the complementary structure.

Their rift production method are in the repeating painting process and reiteration and intersection, and through queuing the first got dismantled and the signs survive, the goal is in producing cracks of drawing and erasing. The final aim is that the rifts get through those methods a formation through the process within the color space and the formation itself grants the disposition of color space. In order the correspondences made within the color space of the rifts are the main elements that establish the screen. Tae Im Has’ color space establishment method gives expectation of opening the mind for pictorial space and of course communication art methods. This method suggests not the principia identical of color space but principia differentica of color space possibility.

2007,  4
Philosophy Professor Bok Young Kim, Hong Ik University.

GALERIE CHRISTINE PARK