Generally, there is two methods to express a person’s thought or the idea through the artwork. One is the reality, and another is the abstract. The former is to compose and express the form of nature in sight. On the other hand, the latter is to create the universal shape by finding the geometric figure of the object or the world. With several expressions that invented throughout the age, these methods were used since human history had continued. They coexist in every period; furthermore, they are basic visual structure of the human beings.

The question is why they becomes the reality or the abstract. According to certain opinions, realistic aesthetics might be developed when people lived happily. On the contrary, abstract beauty could be advanced when they spent their time miserably. Without considering the influence of the period, a person who might keep happiness inside can be realistic; a person who might feel depressed or contemplative can be abstract.

The artist Koo, Cha-Soong thus lives with extreme happiness and has been following the way of the reality that he recreates nature and the object.

Many artists have reached the top in the field of realistic art. Artists like Chardin and Velazquez attained the stage of conception’s way beyond the level humanity could earn. For Koo, it cannot easy to keep his path without being struck down in the era of contemporary art. As he is still young, he might tempt to destroy the object; he might even want to experiment himself with the abstract and post-contemporary art.

Yet he is keeping his balance dignifiedly, therefore, he highly ought to be appreciated. His attitude might be the same the great principle in Korean modern art history, which has come from Na Hye-Sok, Lee In-Sung and Kim In-Soong.

Nevertheless, his artworks have a flat sense and structure, constructed as a whole picture. Although his depiction of the objects and the motifs tries to make real nature. It is true that description of illustrated objects is important. However, he namely puts his priority in their relationship with nearby space, i.e. composition or arrangement.

As a result, he values the sense of the objects that might catch people’s delicate mind in his aesthetic view. His notion, associated with space and the objects, has a formative effect that has been already calculated. Therefore, his paintings are not the simple reappearance of nature and motifs, but creation by his sense of dealing with them.

He does not stay cognition of the structure since reflection in the eyes in remained as natural form. With harmonizing the sense of time, two sides on the canvas contained its inside can find the balance. In the end, it becomes creation the beauty of sophisticated form.