Yoon Beom-mo, Art Critic and Former Director of National Museum of Modern and Contemporary Art, Korea, "The Artistic World of Yang Soon-Yeal: Dream, Love, Mother"

Yang Soon-Yeal originally studied traditional painting, also known as Oriental painting. Her use of paper, writing brushes, and ink sticks in realistic expressions reflects her artistic roots. Her early works are characterized by simple lines, limited perspectives, and restrained colors. At the same time, the overall atmosphere of these pieces is lyrical and ingenious. Perhaps this is how she emphasizes her artistic origins in Oriental painting. Even though her phraseology is expressed in Westernized terms, her artistic roots are firmly grounded in tradition, as reflected in the following statement:

“(...) I gave lectures and taught classes about oriental painting. Oriental painting is pure and warm. It is cozy, like my hometown in the rural areas of Dain, and pure as the crystal-clear water of the streams. I guess my existence was like water. Despite being blocked by thorns, smashed by rocks or ground down by hammers, I feel like I continued to flow as is. My roots definitely come from the oriental painting. In fact, every artistic root of Asians cannot be anything other than oriental painting. The word “nostalgia” is sometimes a really beautiful thing. Nostalgia for the 1950s is on the wood floor.”

Her declaration that the roots of art lie in Oriental painting is a key expression that defines her artistic identity. Furthermore, she presents her own existence through the metaphor of water. Flowing water represents both the natural order and the dynamics of social life. In this context, one can see the vitality of the old saying 上善若水 ("The highest virtue is like water"). If one could truly live like water, what obstacles in life would remain? Water humbles itself, always flowing to lower places. It does not discriminate between allies and foes but merges with all. It blends with both saltwater and freshwater, never boasting its own name, yet ultimately flowing into rivers and then into the sea. Such harmony with nature has long been a cherished value in East Asia. This may explain why traces of flowing water appear in Yang Soon-Yeal’s paintings.

Yang Soon-Yeal has never positioned herself at the forefront of the art world. The image of flowing water is also reflected in her artistic career. However, this does not mean she has neglected her role as an artist. This impression arises only because she has maintained a distance from trends and artistic organizations. She has held ten solo exhibitions at Hakgojae Gallery—a remarkable achievement considering her career path.

In addition to painting, Yang Soon-Yeal has made a significant mark in literature. She has published five books, including Awakening the Sea of Time, demonstrating a deep understanding of the power of art publications. Her literary engagement offers insight into her perspective as an artist. Her latest book, There Were the Forest of Time and Forest of Space, follows a similar format to her previous works, integrating both text and imagery. As its title suggests, the book emphasizes the forest of time and the forest of space—a reference to both temporal and spatial dimensions. This forest serves as the space where a painter embodies dreams.

In Yang Soon-Yeal’s paintings, dreams are a central theme. She dreams—this is an alternative expression of her painting process. Without dreams, one may cease to be truly human. Dreams are the fundamental unit of human existence. However, each individual has a different dream, and the likelihood of realizing it varies. Yang Soon-Yeal’s dreams are infused with love. Thus, her artistic vision can be summarized as "Dream and Love."

Her masterpiece, Dream and Love, creates the sensation of various conversations taking place within a space resembling a performance stage. The dreamlike atmosphere is enhanced by the warmth of soft, half-tinted colors. Scattered throughout the composition are heroines from fairy tales, along with tables and various props thoughtfully positioned. True to its title, this work visually expresses dreams and love, linked to an appreciation for the exotic.

At first glance, the piece may appear delicate due to its feminine aesthetic. Some may argue that the incorporation of fairy-tale motifs aligns with an exotic, whimsical hobby. However, such interpretations vary depending on individual perspectives and value systems. Regardless of critical assessments, the world Yang Soon-Yeal presents is a stage of dream and love.

Along with these themes, the artist places great significance on the concept of motherhood. Recently, she expressed her aspirations, stating:

"On the path of a mother, I wish to flow toward lower places naturally, like water, in a cozy, peaceful, and free atmosphere."

For Yang Soon-Yeal, motherhood holds a profoundly special meaning. While it is true that everyone has personal emotions and experiences related to their mother, these sentiments differ from person to person. Yang Soon-Yeal’s concept of motherhood can be categorized into three symbolic forms: the Concrete Human Form, embodying humility and self-sacrifice; the Roly-Poly Figure, evoking resilience and endurance; and the Linear Form , defined by two arms and two legs, representing structural simplicity.

The mother figure in her work is often depicted with a bowed head, symbolizing sacrifice and devotion. Her arms are either omitted or rendered small, visually diminishing her presence to emphasize selflessness. This representation of motherhood serves as both a symbol and a graphical expression of its essence.

"The painter reflects on herself through the relationship between the mother and the roly-poly toy, even revisiting the existence of parents. There is nothing more precious than family. By constructing a deeply profound representation from an extremely common and ordinary human form, the artist dares to acknowledge it as a universal symbol of all mothers in the world—like fermented rice-washed water."

Yang Soon-Yeal’s artistic universe is defined by three fundamental words: Dream, Love, and Mother. If one were to describe her painting style, several key characteristics stand out. Her compositions are defined by a simple perspective, maintaining a minimalistic approach that avoids unnecessary complexity. She exercises restraint, deliberately steering clear of excessive embellishment to emphasize simplicity. Her backgrounds are often expansive, created with a single color to evoke a vast, open space. She predominantly employs muted, warm tones, favoring soft, secondary colors that enhance the overall atmosphere. Lastly, her figures are highly symbolic, serving as metaphors within the dreamlike worlds she constructs.

Within these compositions, a small performance unfolds, akin to a scene from a fantasia. The interplay of realism and abstraction further enhances the symbolic and dreamlike qualities of her work. In an era marked by chaos, constraints, and contradictions, amid the darkness of contemporary society, Yang Soon-Yeal’s work shines as a guiding light. Her art offers a path to a world of dreams and love, providing an escape from harsh realities. Now, the world she envisions stands before us, waiting to be seen.