"根据形式美理论来解释自然美的企图最终都不会获得成功，因为这些理论有意无意地都将自然作为一个驯化的对象来看待。然而，当我们把自然作为一个驯化对象来看待时，将会违背环境美学家的初衷。有些人的创作似乎在绕开当代艺术的热点话题，而呈现强烈的自我修为之感。这绝不是简单的图像移植，它还包含着时间的刻度，以及许多心理、视觉、手工劳作方面的新发现。本次参展艺术家柳根泽、白宜洛及单凡围绕‘生长’展开了主题，作品以恢复感观的原则下对时间做出了‘抵抗’, 为克服临时性(impermanence)和脆弱性
(vulnerability)表现出了强烈意志。
By the default of generalization, nature, in the broadest sense, is objectified simply as a base for consumable domesticated products. However, here we attempt to view nature as a source of aesthetic principle in looking at works of artists Yoo Geun Taek, Bai Yi Luo and Shan Fan with a theme of ‘growth’.
In their own idiosyncratic visual language, the artists distinctively voice against the literal definition of time and a growth of nature as a sheer passing of events with numeric sequences. They define progression by showing a will to overcome a sense of vulnerability and impermanence existing between the intervals in a nonspatial continuum of events.
Most importantly, the Growing exhibits works that bypass some of the hot trends of contemporary art. It showcases the works with a strong sense of self-discipline in their modes of creative expression. Taking it beyond a seemingly simple method of image transplantation, the works reflect a new sense of discovery of time, the indefinite continual progress of things with visually pleasing and psychologically stimulating “growing” images.
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