The materials Chung Hyun has been showing attention to in the few recent years are mostly 'nothing much'. They are railroad ties expired of use and coal waiting to be given a purpose. Why the interest in nothing much? They have already been or are being used, therefore are not sophisticated. They are simple and crude. In fact, what is truthful is simple and crude. Something that has just been made cannot penetrate into the center. So, the materials he uses are those thrown out from the center or yet to reach the center. Here, the 'center' is practical value. Chung Hyun intends to create aesthetic value from the materials rejected of their practicality. It is because these materials are built in with possibilities given as existing beings prior to and after their practical values. By granting the right to claim one's existence as' already something' and 'yet to be anything', the artist intends to secure aesthetic life that is differentiated from practicality.
Materials are no longer mere objects to him. To materials, he grants the position of subjective being. At the same time, he clearly executes them with substantial causes by escaping from formative causes. The materials, at last, meet up with Chung Hyun, the person who will realize their beings as they truly are. Through his hands,
they slowly reveal their bodies and faces. What is standing with open arms or standing on hands is not a human but a railroad tie. What is lying down is not a human but asphalt. The dark object engulfed in silence is not the face of a human but the face of coal. Although the artist himself is the titular owner of the works, the actual master of them is the materials used. To the materials, which do not have the power to awaken themselves, the artist lends his hands and strength so that they can be reborn. A path not to be found within materials is never to be found outside, either. Only the artist's narration breathes life into the materials and creates a piece of work with meaningfulness. For the artist, materials are the means. For materials themselves, they are the objective. The objective is realized by borrowing the aesthetic sensitivity of the artist. So, emphasis is placed not only on the external aspect displayed in the series of works using railroad ties, asphalt concrete, coal and iron plates, but also on the internal aspect to bring out the story embedded in each material. I define such characteristics of Chung's works as 'naturalistic narrativeness'.
I hope the entire world can sympathize with the uniquely Korean naturalistic narrativeness embedded in the spirit and works of Chung Hyun. However, my concern is on the 'contents' of the naturalistic narrativeness. In order for Chung to confidently introduce himself as a 'sculptor of Korea', I would like to see the elements of 'Korean cheerfulness and gaiety' added in the contents of his works. The narratives of his works are, on the whole, gloomy and dismal. Korea is not just a sad and serious country. The humor and satires contained in folk tales and legendary narratives deliver stories of a bright and pleasant world. Just because the materials are heavy does not mean that the contents need to become heavy and serious as well. I look forward to finding a message of hope emerging from a corner of his works.