In the works of Kim, Moon Kyu the extremely artificial thing and natural one are coexisted. First of all, the artificial one means the thing that is formulated by processing the marble or wood in well-organized circle, cylinder pillar, sphere or geometrical cube. In contrast, the intenseness in the abstract expression, which implies the dynamic energy spewing out from the form conclusion, recalls the movement inside of the nature. For example, when observing "Energy 041"(2004), we can see that the firm disk closed to the garden is combined with 2 contrast elements between stability and disturbance by crack or order and influence. When comparing with the clear boundary that has firm outline, it excites the tension like the rough feeling and shape, which is contracted into inside or expanded to outside, might have been a black hole that sucks up everything or the accumulated energy explodes outward. The clear property of marble and softness of the precisely processed surface with sandpaper are burst by the energy of suck and inflation. The suck breaks out the stability but isn't destruction and is crack, which is connected to the wrinkles on earth. The hollow groove, crack and wrinkle on the earth are like a scar on marble, but is a route and trace of the life that draws out the flow of light and air and restores it. Also, it's vestiges of the accumulated time and process of formation, change and extinction.

If this energy direction is performed as the centripetal force that pulls things into the center of circle, the opened hole inside might be a black hole, and if it's symbolized as the centrifugal force that expands outward, the hole might be the silence inside of the intense movement, which is shown as the eye of a typhoon. Even though it's a psychological response by the visual phenomenon, it's obvious that the works have full of visual elements that could express like craftworks due to the excessive processing of material. This work has cold and stony shapes of minimal art even in the contemporary art, and subjective sentiment of abstractionism that is contrasted, so it's not tilted to any view of a 'specific object' neither 'forme vivante'. Therefore, these 2 elements are collided together and pursuing the third substitute by intensifying or combining them in harmony. For example, in "Energy II" (2006) the shape that is expressed as a circulating link shows the movement of energy flowing to one direction while having the soft surface and rough feeling. The surface is fixed as the completeness just like the eggshell, but it shows the dismantling process of sphere or packaging as a sphere by using a band; therefore, it recalls the continuance of movement. That is not a stop either safe arrival in self-conclusion of the shape, but is a movement, which is more intensified visually by a big open hole inside. In "Energy V"(2003) the kinetic energy is more accelerated. Particularly, the opened hole is empty by activating the zone of the whole work and surrounding one, but it implies the imagination. Or it may suggest the filled space may become empty in reverse. In this work too, the wrinkled surface makesup a mass as mixing with other things and the bands flowing from it wrap the exterior sphere in the constant direction, which shows the possibility to expand to certain size. Here, the shape of work is not a conclusion but is a process. The opened hole in the center may be the eye of a typhoon or mystery, and unknown world that our sight is absorbed into.

As the pieces of flagstone, which the artist can easily find in the quarry,are buried in land for a long time, he makes his works by processing red stone that may be gradually changed to fossil to natural form. In this case, it has rough surface just like the time of digging but as he processes the large surface neatly with infinite cracks and unique feeling of material, so the relation may reverse itself. In other words, in the wrinkled shape that is processed precisely and persistently inside and natural outline of the stone, it's not very easy to find a reverse relationship. The 2 elements contrast from the artificiality are not interfered each other, and combined together in the unique and organized form.

In "Energy III" (2006) the even surface, complex wrinkles inside or hollow marks just like scars can be reminded of the geological stratum that is evidence of the accumulated time. Like the mountain range appearing suddenly on the extensive plain, projection or subsidence, the sharply uplift or hollow part or opened zone has a constant direction to suspension, stability and order of the plain, and shows the flow and result of energy exciting diastrophism. That may make up the surface of plain or cliff, but it shows the change of the order not the disturbance either disorder; therefore, it recalls the surface of rock that is formulated for a long time. The formation of work is frozen that is not solidified but flowing one, so that the surface of the work is being formulated and wrinkled layer by time and kinetic energy. Even though the material is processed excessively but the motive of his works is abstracted from the nature. From the 'light', 'life' to 'energy', the world the artist pursues is abstract motive from the nature. However, he doesn't reproduce it in details but expresses the light, air, water and wind in the abstract way. In this point of view, it can be considered that his interest is focused in the original one. Even the light doesn't have any feeling of material but is expressed as the energy through marble or wood, which can be traced after the artist's consciousness that he'd likely to achieve the religious mystery from it.

The complex interior rather than the simple and lucid exterior is obviously expressed visually with one phase of profound and daedal nature, but the form and refined technique make up the works for the decorations. In addition, we doubt whether the superior selection of material could seize the technique above the property of matter. His works are strongly expressed for the nature surrounding our body, outer space and the world of notion. The energy that the artist tries to express is the breath, which we can confirm whether we're alive, respiration of plain and dynamic life. For that the marble could be clearer, we see the time we're living from the beautiful surface. His works look as if all things are set in motion and flow but our mind is too. This form is our notion that is flowing.

Wrinkled Layer, When the Flowing Sentiment is Shown as a Form
Choi, Tae Man / Art Critic