‘Art as a Possibility to Breathe, Nature Art'

‘Art as a Possibility to Breathe, Nature Art '

2010 Geumgang Nature Art Biennale's Indoor Exhibition

'Where is Nature?'

Jeon, Won-gil, Artist/ Curator of 2010 Geumgang Nature Art Biennale

 

I.

2010 Geumgang Nature Art Biennale planned an indoor exhibition again, following the special exhibition of 2004 Biennale titled 'Animal as Entity'. In 2006 and 2008 Biennale, only the outdoor exhibition was held as there wasn’t indoor exhibition space, but the indoor exhibition of this Biennale was held at Geumgang International Nature Art Center which was built at the entrance of Yeonmisan Nature Art Park in 2009. Unlike the outdoor exhibition where everything is done through a contest in terms of the composition of the exhibition, the indoor exhibition's concept was decided by a planner in charge and artists were chosen accordingly. The outdoor and indoor exhibitions were held at the same time for this year's biennale which enabled it to be an event to feature a various features of nature art which works along nature.

In the indoor exhibition is held under the title Where is Nature? 12 domestic artists as well as 2 foreign artists are participating. It shows various expression methods of contemporary art such as image, installation, photograph, sound, drawing as well as photographs, text and etc that the work process is recorded, and in terms of the context, each has a different perspective toward nature. As an exhibition planner, I paid attention to how nature and art vividly get related, through art that the work of invited artists have been showing so far. It is no exaggeration to say that there is no artwork that does not have a relationship with nature. However, the selected artists here should pay attention to the fact that nature is substantially effecting as a material or conceptually, within artworks.

Through this writing, I would like to take a look at each work to find out how nature and art are related in work or how they include each other and how they show each other. After that, I would like to say that it is not possible to label Nature art in a fairly closed definition called an art that is produced by using natural products and something that is installed inside nature. Also, in order for Nature art to have its eccentric characteristic, I would like to say that a harmonious cohabitation should be formed in the middle of humanity which is fully displayed as art of human. Moreover, I would like to inform that the possibility of nature art to be the only art to liberate art of today which is subordinated by capital that has been experimented through Yatoo Four Seasons Workshop. At last, I would like to say that the existence of nature that breaths inside works should be suggested as a frame of reference for a new artistic judgment of nature art and a conceptual line with previous art and it should be formed having this as a basis.

 

 

II.

Kwon, Oh-yeol - Ontological meeting with nature

The work of Kwon, Oh-yeol in one word is, nature shows everything on it’s on and photograph (artist) shows what photograph (artist) saw as honest as possible, without any artistic decoration. His photographs are too honest which makes us forget that it is a photograph. His photographs, where empty space or background is gone, are filled with leaves and those move our body to the moment right before being pulled inside to the nature. Similar to the ontological awakening which Jackson Pollack's all over painting delivers, his photographs remove the thought whether it is beautiful or taken well and make us only think that we are just facing it.

I do not wish to read his work through the method which he relates and thinks of nature's organic relationship and human's social relationship. The burdensome effort that he displays to get each photograph also is not of my main interest. I only would like to deeply sympathize the feeling of the moment when Kwon, Oh-yeol faced the leaf of a tree or a plant fully inside his lens and get inside the forest of nature.

 

 

Lee, Jong-hyup -Drawing that grows

Lee, Jong-hyup´s drawing follows the growth of a plant. His drawing which is accomplished over some period of time is a work of moving the form of shades that change as plant grows. His drawing is connected as a diary and sometimes includes messages from his friends.

His previous work of pressing down petals with an instrument focuses on the process of ‘disappearing gradually’ and this shadow drawing puts the enlarging process of ‘growing’ and ‘exposing’. Anyway, his work gets attention by showing a neat sense and takes the method which is not definitive but progressive.

The work of drawing along with plant's shadow always chases that of nature but only to deviate all the time. It is due to the moving light and growing plant at the moment of drawing. Therefore, the reality of his drawing is always momentary. It is as such to talk that the truth we attempt to know is always indefinite and always something that will never be caught. His work may put a paradoxical reality that life and nature can be labeled or defined.

 

 

Yoo, Dong-jo - Existence and non-existence of water

Yoo, Dong-jo`s water work had been done in Aswan lake in Egypt, including and lakes in Cambodia and Australia and the like, having Anyang brook as a start in 2004. From now, he plans to display work of throwing 'water' into 12 lakes in all 12 countries by 2014 such as Titicaca lake in Peru, Tongxiang Lake in China, Michigan Lake in the United States and etc.

His work of throwing a stone that is carved as 'water' has a strong warning message which says it is possible that all the water on the earth can dry up. If a lake as wide as an ocean dries up, the stone that is carved as 'water' which has sunk on the bottom of a lake will be found but it is possible that the being to find that not to be humans.

To throw a stone that is incomparably small to the size of lake, he pulls some time and circumstance not only of the whole lake but also of the future that may take place in coming days, inside the work. Yoo, Dong-jo´s water work is a great work which puts an enormously big nature and context through a very simple action.

 

 

Sandor Vass - Drawing that is drawn by feet

The GPS drawing of Sandor Vass (Hungary) was done around the 54km area revolving the vicinity area of Yeonmisan. His work which originates from the theme of this biennale that was held under the theme 'Nature and Peace' talks about the divided reality of Korean peninsula through a Siamese twin that has 1 body but 2 heads.

With the help of Global Positioning System (GPS), he walked by himself over three weeks along the drawing on the map which he drew and recorded that journey with photographs and video. During his walk while he was working for his work, he met Korean farmers or found a beautiful reservoir and in evenings, he marked the way he moved during the day on the map and checked the route for the next day while editing image data.

Unlike works of other artists that assume a new aspect every day, Sandor's work was progressed over 4 weeks in the method that does not leave a visible trace. He suggests a new method not only in terms of a basic fact of art that is 'to draw', but also the method of Nature art that meets nature. His work moves our perspective outside the high atmosphere. However, his interest takes us to the quiet rural landscape in a small Korean city Gongju and starts the story there. The story of a human figure which has 2 hearts and when the greed of the two hearts clash, conflict blossoms and finally a quarrel is started and that injury lasts long.

 

 

 

Jeon, Won-gil - You who make me cry

Jeon, Won-gil`s tear series starts from 2006. It is his 4th work since the work which water from the only fountain that does not dry in Yeonmisan gets injected inside the iron sculpture which reflects the actual body size of the artist and flows down as a tear.

After coming inside, this work shows a drastically different aspect. The subject of tear that consists of iron sculpture is moved on the canvas which is the basic material of a flat painting. At the moment when the audience approaches the canvas, the underground water that is connected from the village across a mountain becomes two branches of tears and flows, that flowed tears raises the seed sown in the small flower garden which is installed under the canvas, and finally it is shown as a writing Nature & Peace.

Water springs from inside ground and flows on the canvas along pipe and goes back to the ground. Work is the meeting of nature and human's contact point. At the moment of contact, a simple water becomes a tear which contains the emotion of a human. Through two eyes which can be called a window of mind, Jeon, Won-gil substitutes the emotion of human that confronts nature to a truthful symbol of water which is a pure nature as a tear.

 

 

Song, Mi-ae / Ryu, Seung-gu - A Strange sound, a wild sound

Song, Mi-ae majored in composing in undergraduate and graduate school. The person who collaborated, Ryu, Seung-gu is a sculptor. What did the meeting of the two people make possible? They find the sound that had not been able to be heard and let us listen to it. The sound they found is put inside the piano string, and it is put on top of the pieces of wood that are thrown away and are bound to be used as firewood. The pieces of wood and this sound is a pair that somehow matches well with each other. Stacked up piles of wood are fragments of nature. No, rather than to be called as nature, it is natural to call them firewood (In fact, the wood will be used firewood after the exhibition.) The signboard of a piano that he used had not been used as object as visual or material. This strange instrument which still makes a sound when it is tapped has been tuned to be delicately deviated in order to find the sound that has never heard before, and wild music was made with estranged sound that are born from this.

If Paek, Nam-jun attempted to hear the sound of the piano's body by breaking the piano with an ax, they activated the muscle that had not been in use inside piano. Also, they find a strange sound that had been hidden inside and returns it as a vivid natural sound which is not processed. This vivid sound approaches us as a beautiful tone of life as the tone as well as an existence itself.

 

 

 

Moon, Soon-woo -Tadpoles that are senior to artists

Tadpoles from Kangwondo have been moved to Moon, Soon-woo work room in Anseong. After waiting for a while for it to grow to a certain extent, he put them inside the water tank which a manuscript paper had been drawn. There is only a G clef, a F clef, a manuscript but no notes are drawn. When tadpoles move, they become notes and music. Along with moving tadpoles, eyes move and in the process of going up and down the manuscript, long music ends.

Inside the water tank that had been moved to the exhibition hall, only the seaweed that remembers the movement of tadpoles that tickled them, are left and all tadpoles that used to go up and down the manuscript became frogs and left. Then, they gather again every night around the work room and start the music which is in a drastically different form. They play and sing the music they drew on the manuscript all night when they were tadpoles. They never forget their tadpole days.

The music manuscript is a strong symbol as well as a law that reflects human's music. However, tadpoles that swim on it just move and swim. What was that the artist Moon, Soon-woo tried to show through this work? Despite the fact that on the outside, he invited tadpoles in the water tank that the manuscript had been carved but in fact, the act that he conducted as an artist is presumed to project by putting the form of art inside nature through a drastic comparison between tadpoles and a manuscript. As someone who is a recognized Jazz mania and who has a professional knowledge and collection toward audio, his work of tadpoles may be the abbreviated expression of all musical knowledge that he might be aware of and he seemingly is as though throwing an answer to the question what art is, as an artist who has been showing an enormous passion and concentration over all art such as photograph, painting, drawing and installation, and etc for a long time. To say that art is irrelevant to nature similar to the manuscript inside the water tank, it is only valid inside the extremely humane area where it is impossible to imitate or follow nature.

 

 

Karin van der Molen - Loss and restoration of nature

It is a work which used the traditional pattern that can be easily seen in cups, plates, etc from the Netherlands. Karin took away the skin of a dead tree, attached it onto the wire mesh and worked by using round hairpins which are coated with a pearl color. The pattern which is formed by putting a hairpin one by one is connected by round dots that sparkle in a pearl color and finally show a vivid image of a plant. The pattern that seems to float on the surface of tree's skin by 3-4cm is light and beautiful as a fantastic image that deviated reality.

If she had made the pattern solely on the craft-like perspective, this work would not have attracted much interest. However, like what she is talking about, her ancestors, human's ancestors attempted to maintain the relationship with nature by bringing nature's image into houses ever since when there suddenly was the accomplishment of a enough social role division that people did not have to physically meet with nature anymore. Especially, Dutch women made the pattern of the form of a plant they consider most friendly and drew it in the plate they most often use. Her inference called 'Maintaining the relationship with nature through image' talks of the essential relationship that nature and human have been bearing.

Human's childhood memories are mostly left with nature. Along with the huge conch work that was made while missing the childhood memory of listening to conch by putting it to ear, this work embodies the longing of human towards nature.

 

 

Kim, Do-myong - Green fish

The work of Kim, Do-myoung is to make a handmade bowl and on top of it, put a piece of life through an image. His manual work starts by cutting a cardboard bigger and smaller. Water and small seaweed called duckweed and leaves are put inside the space that changed from the basic usage as a packaging material to a plate. The meeting of paper and water is an improper meeting. Even the waterproofing is done but it makes the audience to have quite a feared tension. This tension accompanies until the end of the flow of an image which the deviated tie between two fish that swim on water and seaweed finally finishes in happy ending.

His work can be called a meeting between an image that reproduces a natural phenomenon within preferred time and space and the basic formative method that used human hands. At first, paper keeps a firm structure but as time passes by, the form and color changes. I think the reason that the artist Kim, Do-myong continues paper works for quiet long may be due to this imperfect characteristic of a material. How interesting factor is it to see the changing process of a paper work that is not too long and not too short?

Along with the story of two fish that he structured, image of fish that Kim, Do-myong is showing in work for this biennale is even more interesting due to the mass media that premises time and the structural relativity that the combination with the life of a paper that is a bit slow but does not deviate outside the range of human's observation.

 

 

Yu, Zie-sook - 10 Years self portrait

Yu, Zie-sook´s taking photographs for 10 years, of faces that woke up after sleeping have been exhibited several times already. It was in 2002 when I saw it first, which 3 years had been gone since the project had taken off. My first impression was 'I feel relieved.' Human live in a limited condition that they have to open a door called tomorrow in order to find out about it. Since some time that I began to think that I had become an adult, I have been thinking that I have to live life as a whole. What I mean is, the life that is simply a diachronic concept that does not have past, present or future concept.

Back then, it was only the 3rd year of Yu, Zie-sook´s 10 year project but that work already showed the whole work which was sound. Even though there was the end point called '10 years' but I could already feel all inspiration that it will bring when the work is completed. This approached me as a symbolic model of a diachronic life that I thought of. In fact, life is not completed after living through it but by the attitude towards the project called life, the entire life of that person can already be felt.

The reason that I wish to see that relieving project now here at Geumgang Nature Art Biennale is not only because of the time concept her project has. Rather than that, I wanted to show a thought saying that 'body is nature.' In terms of facing body as nature, especially one's own face, Yu, Zie-sook chooses the most natural timing, in other words when one is awake and only the thought to take a picture is present. By showing a random face that could indeed be felt ugly, she is moving herself as a part of a perfect beauty called nature.

 

 

Jeong, Jang-jik - A World of 10 thousand people and forms that 8 sticks (the 8 trigrams for divination) spread

Jeong, Jang-jik starts his work after getting a motif from the 8 trigrams of divination that reflect an Eastern view of nature. The interest of his work which has its basis on the abstract shape that is a rod form is focused on the face that is ten thousand faces and forms. Face is the result of one's life as well as one's possibility. Through the combination of expressionless straight lines, it is possible to draw human's face that has various facial expressions despite being simple and concise.

'Face' that entered this biennale was produced, having images that expose the characteristics of gold, tree, water, fire, soil. His work which is produced with LED lighting box attempts the relation between human's life represented by face with nature represented by human's life as well as nature's 5 elements. It seemingly is to have relations to the Eastern fatalism which is said that human's fate is formed inside nature. In fact, doesn't his drawing of a rod start from the 8 trigrams that attempts to form human's fatalism called fate (八字, literally meaning '8 letters' in Chinese Character)? If it is not an Eastern thought that rather than viewing nature as something that confronts human but something that has a humble thought on its basis that says to adapt to the conditional flow which its original time and location brings, a thought like this could not be thought out. I think that the work of Jeong, Jang-jik which considers the Eastern world view towards human and nature as an important axis will remind the location of nature which is the theme of this exhibition once more.

 

 

 

Kim, Ju-yeon - Leaving mind

At a glance, Kim, Ju-yeon´s weed work seems insipid. Apart from the flower pots which various weeds are planted are displayed at regular intervals, no producing action as an artist exists. However, through this exhibition, Kim, Ju-yeon shows a work that someone could have tried but actually has not or could not since it was too ordinary.

Kim, Ju-yeon seems to intake nature inside her work or sends art back to nature. Likewise, her weed work that is put between nature, art and daily life seems to be difficult for anybody to take it as an art work.

However, I accept this work within the flow of ecological work that Kim, Ju-yeon has been showing so far, that is a series of work where she showed a high degree of completion with a vivid work concept and I get to have the feeling of rest, emptying along with the artist. If even the people who it is their first time to see her work read her mind while putting away various prejudice towards art and think of the process that couldn't have been easy which the artist looked into grass, chose it, brought it home, water and take care of it and read her mind, they will truly have the same feeling as I am.

In fact, nature or the daily life itself isn't art. Even following the context of art history where an object of daily life can become a work, art still exists as work at the moment when something of human activates. As of the reason that I think that 'weed flower pot' exists as art is not because of flashy theory but because it carries the mind of an artist. What is seen when artistic equipment for work such as technological trace or minimum drawing to show the touch of hand or conceptual relation with something else is all excluded is the heart of the artist. There, the artist's mind to view the weed exists.

 

 

Ko, Seung-hyun - Information, life, and beauty inside a drawer

There is a drawer that had a lot library catalog cards which have rarely been in use these days. The datum in them is information of books into which human knowledge is put, and they are felt like seeds that contain plant's genetic information. On top of the data that are neatly categorized, the artist puts various seeds. And then, people open the drawers and look and listen to the conversation of human and nature that is endlessly continued inside.

At some moment, artist meets with artistic inspiration like meeting a fate. Ko, Seung-hyun´s idea for this must have come up at the moment he met the discarded library catalogue cabinet. The reason that he accepted the cabinet must have been the instinctive judgment as an artist. The reason is that cabinet was clearly an ideal object as a place that can induce the subconscious meaning of the seeds that contain the information of life.

Similar to the fact that most installation works generate a meaning as a work according to how that art object is put or what kind of relation it forms with other objects or space, various seeds that are kept somewhere and have to wait for the sawing period and book catalogue cabinet inside Ko, Seung-hyun´s work form an excellent meeting in terms of function and meaning. The paper cards that filled inside the drawer can control humidity of the seeds properly and with a name tag, it is easy to divide the seeds. That meeting seems too natural that it even seems to be simple.

However, the meaning this quiet meeting delivers does not stop there. His house is filled with various wild flowers and trees. To him who has a garden where different flowers and beautiful fruits are born, seeds are a dynamic which contain nature's vitality as well as beauty and seed itself already is beauty and life. Dealing with beauty that he has to put inside work as an artist, he does not turn to serious artistic installation but puts the seeds that he has elaborately collected inside the work that used a drawer.

 

 

 

Lee, In-hee - Utopian space which starts from a secret room

ee, In-hee works with fish scales. The act of removing the scales that covers the outer part of fish and transplanting it again to the ‘work’ FISH is the major element of his work. I don't know how she got to work with fish scales. In fact, that is not important. It is just that the double trick that she shows about the reality of fish is interesting. In other words, seeing Lee, In-hee´s work, we think that 'it looks like fish.' However, that is not a real fish. Here is where one trick (trickery) occurs. However, again people discover that it is not a drawing and it really is 'a real fish scale.' Here, another trick occurs.

Since the object called 'scale' participates directly in the imitation process of an object, his work gives a kind of chaos between reality and imitation, but at the same time makes a kind of shared passage between work and the object of that imitation. This is taking the method to avoid the limitation which is the inherent limitation that realism art has, in other words, that a well portrayed picture is nothing more than an excellent trickery.

Lee, In-hee´s work this time does not just show the context that had been pointed out above. There is a mirror in front of the fish on the table. In the mirror, clouds are drawn. Sometimes, it is covered with fish scales and some are covered with a cloth that is a running pattern. It is cut in half so it looks as though it is going or coming outside. A number of them are put on top of a chair.

At once, this surreal atmosphere is stored in one part of our consciousness. Then, nearly at the same time, it comes as a reality that appears in front of us. It looks like something that one might have seen and something that always had been there.

 

 

III.

The works of participating artists for indoor exhibition can be categorized as the following according to the contacting as well as an expressing method with nature. It first reflects the direct meeting with nature but there are works at the exhibition hall where seeing nature's figure is only possible through that data. For example, such are the works of Yoo, Dong-jo, Kown, Oh-yeol, Sandor Vass, Moon, Soon-woo, and etc. Next are works that nature's element directly composes the work inside exhibition and they are done by Kim, Ju-yeon, Lee, Jong-hyup, Jeon, Won-gil, and etc. Apart from them, there are works of Kim, Do-myeong, Yu, Zie-sook that showed the meeting with nature or body through image work and works of Ko, Seung-hyun, Karin van der Molen and Lee, In-hee who directly use natural objects but focus more on the relationship of human world with nature. Jeon, Jang-jik who shows the most pictorial work conceptually grafted nature's basic element that he viewed through the Eastern view towards the world.

Among the artists that participated this exhibition, considerable number of artists are included who have been opening their own world of work rather than acting inside the border called nature art but through experimental method of contemporary art as a modern artist. This exhibition focused on the communing method with nature that are inherent in the world of these artists' works and I think that will be an opportunity which rather multiply the aesthetic basis of Nature art by grafting with the overall method of Contemporary art that are even more various. Such attempts mean to break from art that has secretly been maintained so far as the characteristic of Nature art, that is art that used the natural object and it is experimenting the possibility to methodologically spread out in a wide sense.

The methodology of Nature art which developed by Yatoo's Nature art research society during 1980s started at the meeting with pure nature but the inherent form and spirit are possible to be realized through all media of Contemporary art that takes place indoors. Even though they were not produced under the name Nature art, art that moves to find the point where nature's characteristic and human's characteristic through art get to see that the work comes inside nature art.

Speaking of Nature art where nature and human join, the inevitability of the aesthetic of that coexistence is found in the reality of our life which lives along with nature. The reason is that our life is revolving while being interlock with nature in indivisible relations and unless we are not avatars in the cyber world, we have to live in a direct relationship with nature.

I think that from now, Geumgang Nature Art Biennale should make an important opportunity to harmoniously solve the relations between nature and human by suggesting the value of Nature art that directly relates with nature which is the base of human's life as well as the origin of life, as one axis of artistic judgment. Inside the flow of recent art industry where private experience of each person colludes with capital and mythicize or the value of labor is reversed as a value of art, wouldn't Nature art be a hope that has some possibility if it enables art that breathes with nature restores universality and truthfulness of art again?

At the Nature art workshop which had held during the 2010 biennale period, all participating artists experienced that it was a program which was able to taste the most amount of artistic sense of freedom within the least condition. Through the work of these artists that is difficult to find the difference with the work of Yatoo artists that had been heading the four seasons workshop for 30 years, it is possible to think that 'Ah, this is not a professional work and only is a light art that is largely playful and amateurish' on the one hand. However, that is a wrong thought. Look. I am talking about the work that through artistic approach towards nature, it clearly shows what nature is like and gets remembered in the mind of a person that views with a poetic metaphor that are such as work that were shown at Yatoo's four seasons research society, for example, 'grass person' by Kang, Hee-jun, 'Small circles that are drawn by small brook shells' by Ko, Seung-hyun or 'turtle' work by myself. Even though such works were completed in a very short time by a flashy thinking, it can give the same inspiration same as a big scale project. Even though it has basic conditions that it should be equipped with as art, they seem as though they did not do anything or looks as an indifferent act.

When methods that can be called Yatoo's style is spread out by each artists in different methods, I don't think that it has to be inside nature. I also don't think that it has to be produced only with natural objects or it is only possible when it is a temporary art that exists for a certain period of time and disappears inside nature. Furthermore, I also don't think that it has to directly reveal its campaign-like characteristic that enlightens the preciousness of natural environment. Nature art can gain boundary of sympathy through issue by engaging with the environmental problem of the world that becomes desolated. However, art that has a strong social justification is easy to loose its vitality after loosing its creativity and becomes a tool for a good reason. Therefore, Nature art should have a formal suggestion which says how nature and human should exist through an inherent form, and leave how to digest it and make what kind of form or flow in society as the role of other people.

I have already thrown several questions through Yatoo workshop at 2007 pre-biennale. Here, I would like to throw the questions that are more or less modified.

1. Does it become nature art only to use natural object, or does not it become nature art to use manufactured object?

2. Would pointing out the nature itself make it a nature art?

3. Is nature art only possible inside nature?

4. Does Nature art have the standard of artistic judgment that is different from the previous art?

I think that the justification of Nature art can be found when it is human's art. The reason is that the possibility of the meeting of nature and human starts from discovery of the natural characteristic of human which can be connected with the natural characteristic of nature. Even though the external development of human characteristic takes the form of rational thinking and judgment, it jumps in a certain status that is enhanced when it passes the path called art. This is the status to contact with the natural characteristic of nature, and it may be ‘the natural characteristic of human’ that any person living inside nature has. ‘The natural characteristic of human,’ that is a different figure from human's creativity or enhanced artistic will.

Therefore, Nature art which nature and artistic will of human form a balance and act along would be formed while having a true exhibition of humanity as a premise. It would not be left nature as it is. Whether using natural object or not, whether it is formed inside or not inside, those things do not become the prior condition of Nature art. It is just that what I will see what kind of element of nature effects how, within art there.

Even though Nature art is born inside nature and is given with such concept, it can exist anywhere in the world and I think it is possible to assume Nature art if there is any art that has open structure breathing with nature. The reason is that nature is this world itself that cannot set up its limitation.

Now, nature does not exist as only art's visual object of imitation or only an object of artistic inspiration. Also, it does not stop participating in work simply as a material or a role of a place where work is put. Not only as an origin of an inspiration to produce work, but nature also comes inside work along with artistic will of an artist and directly activates art and breathes lively.

Now, I think that Nature art should form a confrontation line in a relation with previous art. If Nature art raises a separation act within previous modern art and form an independent concept, it will form a diastrophism in the recent modern art where friend or foe are nonexistent due to pluralistic value judgment, and then it will vitalize the overall art.

Ending this writing which tries to clarify more of the concept called Nature art. I view Nature art which is seen from the farthest but most clearly, among art history. That is a cave painting which is said to have been drawn by ancient primitive men. Their drawing which picked up the image of vivid cows within lines, light and shade that rocks and unevenness of surface inside cave produced was a Nature art that shines where nature, art and their life are mingled together. That is because the painting which was found inside a dark cave where light doesn't reach includes the surface of vivid nature inside the painting, and shows the possibility as open art that breathes as well as something that is connected with nature, from that side of history.