Yoo Juhee (pronounced “j’ouïe ou jouis”, as you want, in French) is a well-known artist of the contemporary art movement “Le Monochrome Coréen”. After brilliant studies at the University of Yeugnam, she exhibited throughout the world, notably in New York, Russia and Japan. Today, with this exhibition at the Galerie Iconoclastes in Paris, Yoo Juhee seems to have reached what the famous Taoist master Lie tzu (2nd century AD) refers to as “the true passage to the perfect vacuum”.
It is because the void in Taoist thought does not have the negative meaning that it has always inflicted on the ontology of Western thought (although modern thought and quantum physics in this century require it to change d ‘opinion). The emptiness here, for this thought that comes from the depths of the ages and which, under another statute, finds the “dark matter” of astrophysicists and our technological revolutions, is what would produce all things. The jouissance of the void precedes the enjoyment of the body and that of the spirit, and articulates them.
From the aesthetic point of view, this gives a painting that must be approached as that of the Real, or the void, as opposed to the ordinary realities of appearances. This is the same emotional experience as that of the “Carré Noir” by Malevich (Moscow 1915) or the monochromes “Klein Blue” by Yves Klein, who realized the first, famous and scandalous “exhibition of the void” in Paris ( 1958). Except that here, black and monochrome squares can not be reduced to nothing, even as satisfactory as can be conceived. Because Yoo Juhee relies on a tradition more than two thousand years the Tao te King. “Trace of meditation”. The first poem of this immense work of world literature affirms that the origin of things “is the obscure,” and that “this obscure, more obscure than all obscure, is the door of all prodigies,” or, 35: “The big picture is without a picture”. And this is what describes the paintings of Yoo Juhee, “Image without image” and “door of all prodigies”: Emptiness as jouissance, richness and abundance.
In fact, these works generate psychosomatic effects of calm, and of creative serenity that they know how to exploit in particular the interior architects of today. Here, nature is the vacuum which becomes the subtle, even invisible forms of bifurcation, knotting, weaving, and combination of the original tetralmme “Earth, Water, Air and Fire” (square, round, crescent and triangle) Still adorns, but in the form of four trigrams around the Tai Ji (emblem of transmutations) the Korean flag. Yoo Juhee realizes by his art an extraordinary and subtle encounter between the most distant past, present and future always renewed. Space becomes time, forms emptiness and emptiness color.
Guy Massat, Psychoanalyst