No news was good news of well-being rather than disappointment because they knew that they were doing well in their lives since their first relationship as artists and curators signed in the 2005 Do Sung-wook Individual Exhibition – The Shining Dark. However, the news of the accident that has suddenly been reported, and the artist Do Sung-wook, who has been rare for quite a while, has been holding an individual exhibition for the first time in more than a decade. It was the first reunion in 16 years, a familiar, unfamiliar, but unfamiliar encounter, as he showed the scenery of spring.

No Art, No Life!
To summarize his recent situation, which everyone is curious about but cannot ask, “Do Sung-wook is well-being.” The unfortunate accident that he found when he was a very beloved painter in the art market, the serious aftereffects of paraplegia, and his daily life as a recovered artist. He is well.
The body is a basic tool for a painter. In a way, it’s a more precious weapon than canvas, brush, and paint. When his body full of healthy energy is completely mine, the writer can pour out whatever he wants to draw at any time. Unfortunately, after the accident, he lost the basic tool of a healthy body that he could use freely. You can no longer hold a brush with your fingers or walk upright. Steel stamina, which had been staying up for days and days easily, has also disappeared. But he wanted to draw a picture. What does life mean if an artist can’t work?
Just as a young child learns to walk, he recognized the changes and limitations of his body and began to find and learn how to draw under the current physical conditions. Instead of fingers with only sensory nerves left, he wore training gloves, inserted a brush between them, and honed how to draw with his wrist. He developed the strength of his wrist and arm to prevent the tip of the brush from shaking, and he also improved his physical strength enough to endure in a wheelchair for four nights and five days. In addition, the mental muscles have been strengthened so that they do not easily collapse despite considerable psychological confusion. A strong body and mind for him is not to recover before the accident, but to keep his current condition in its best shape. Although it is still painful and uncomfortable, it has finally reached the stage of properly using the body, the basic tool of production. In addition, while installing a self-designed electric canvas frame, it has a working environment where large works can be easily produced, and it is focusing on painting again. From the time we first met until now, Do Sung-wook is still faithfully in the life of the creator.
No art, No Life!!, Will as an artist who just wants to paint was the only motivation and source of energy that allowed me to endure despair, frustration, and pain that I dare not measure. Since I learned how to draw properly based on the physical conditions given to me today, the next step was to raise my expression skills to the previous level. The reference point for grasping the current state was yesterday’s Do Sung-wook. He began to duplicate himself by borrowing images of his previous work, which made a great impression on many people. It was only after spending a lot of time replicating oneself to revive the dull eyes and the sense of hands that he was not ashamed of himself. Desperate self-imitation eventually paved the way for self-change.

new landscapes
As can be counted in the representative work “Condition-light” series, the condition and ultimate goal of painting is ‘description and expression of light’. The author said, “Light is a non-materialized figure. In itself, there is no framework for reproducing the shape of objects seen in the concept. Since there is no shape, it can be constructed as intended and has the effect of dematerializing all materials in contact with the light. The scenery of Do Sung-wook is very simple. Light, tree forest, and road. There is a forest that anyone may have seen at least once, fragments of light scattered through the leaves, and an endless path somewhere in the forest. Some say it is a kind of fantasy that unravels his landscape around non-material conditions, and others say it is a pure fictional landscape created by the artist’s vision of utopia. In any case, everyone experiences a deja vu as if they have seen it somewhere because it resembles the existing natural scenery in front of them, but it is actually just a non-real landscape created by imagination.
Regarding the new <Emotion-light> series, the author explains, “The screen that collects metaphysical beings and fills them with an intuitive perspective, and this one condition is completed by being embedded inside with emotions refracted by the majority.” If you look for the difference between the two series, forests and the sea still appear in the background to describe non-material factors such as light, air, temperature, and humidity. However, if the work of “Condition-light” deals with a panoramic view of the forest with light centered on the road, “Emotion-light” is different in that only details of the entire screen are enlarged and arranged. In addition, while the previous work dominated the green-oriented monotone screen with clear white rays, the color and temperature of the light changed in the latter part. The bright white light in the fog is replaced by a colorful spectrum of visible light such as yellow, purple, and navy, and has a softer and warmer temperature. In addition, the abstract aspects of <Emotion-light> works have been further strengthened. The light appearing on the canvas appears as a mass, not as a scattered fragment. The shape of light penetrating between large cracks in leaves set in the sky or towering tree trunks is a scene seen with thin eyes. Instead of describing it as if it were meticulously filled, it boldly erased and crushed, and the light is completed with the artist’s inner expression with color.
In screen composition and color use, the same characteristics are also detected, although there are differences such as the whole or detail of the forest, white or multicolored light. While most of the paintings with conceptual tendencies focus on the reproduction of objects or objects with extremely delicate brush touches, the artist’s description is different. At first glance, it is easy to mistake it for a realistic description, but those who have stared at the screen for a moment know. I find it never realistic, even abstract. While at least seven to eight layers overlap from near to far, rather than reproducing forest objects such as leaves, trees, dirt roads, and stones in detail, it first builds a basic shape with a wide color surface. And the original characteristics of the object are properly identified with an understated brushstrokes. It seems very easy, but it is an expression technique that can only be performed by a sharp-eyed artist who properly understands the nature of things.
In place of the dramatic contrast between dark forests and bright lights in the past, light floats the entire forest like air. Trees, roads, sky, nothing stands out, and it gently seeps into one. The rays, which seemed to remove the fog and a clear sky, slowly surround the forest along the scattered fog. The roar of all beings has died down and time has stopped.

one less emptying
The exhibition, named Remind Exhibition, is an opportunity to gauge artist Do Sung-wook’s first, present and next. His life was bound to change before and after the accident. If the starting point of the previous work in discovering one’s own unique way of speaking was ‘add something’, it is now ‘take something out’. In the past, he had to draw better today than he did yesterday, and he added and added more to do more than people wanted and expected. For the dramatic description and expression of the light itself, which was an absolute condition of Do Sung-wook landscape painting, he was immersed in ‘filling one more’. However, he chose “one less emptying” to become a mood in which the light is no longer simply visible light, but the artist’s inner sensibility is projected. Devices for dramatic contrast of light and shade were removed one by one, such as fragmented pieces of light, brush strokes filling stems and leaves, and overlapping screens overlapping in layers. An imaginary forest is no longer a sanctuary with noble energy. It has become a living forest that is willing to cry, laugh, and embrace sad and pleasant human emotions and emotions. It’s been a long time since I’ve met you, the word “freedom” keeps on and on. He, who is not free, must find greater freedom with “one less emptying.”
For whom you draw. How to draw it. And why do you keep drawing. I would have asked and asked. What is the answer he got? As soon as the work is directed to others, not yourself, and changes to a third-person perspective, the things to see, feel, and stories will surely be abundant, but they disappear. He resets his eyes and emotions as the main character of the work and tells his story from a first-person perspective.
The landscape of Do Sung-wook has been and remains the same. A landscape that seems to have been seen somewhere, but does not exist anywhere. It is the artist who created such a landscape, but at some point, it is necessary to leave his hands and move independently to become a living landscape in a true sense. The moment when his landscape becomes our landscape may be the freedom that an artist dreams of.

Haruki Murakami says. “A novelist must be a free man before he is an artist. Doing what I like when I like it, which is the definition of a free man to me. Rather than being an artist and being conscious of the public’s gaze or displaying unnatural formality, you just need to be a free man who roams around.”