Coming to our era, from the period of Avant Garde to the period of unorthdox and Pop Art, thereafter, reaching the period of conceptually radical Avant Garde and Trance Avant Garde of nostalgia, these truly devoted major reformations in painting, sculpture and including the general art world are collapsing. If we consider the continuous search of the new type in direct method only as the development process of exclusive art, the post-modernism, which has a great merit in clearly showing that the twenty centry art cannot be understood completely, also becomes dead. From this point of time, despite the use of traditional methods and materials, and at the point of still seeking for the new solution to the already became old problem in sculptural configuration, Keum Hwa Choi's exhibition is very meaningful and know that she is no less modern than her colleagues, who use non-traditional materials.

Keum hwa Choi's work ranges from carving the stone into floral images to abstract figures and ironically, such as 'The Hat', there is always surealistic element present.

In a simple, eye catching, but almost common gesture of expression, which formalized in everyday life and in which the source of conviction can be recognised in the unchangeable, there flows the time of ancient and present, classic and anti-classic. The negligence in use of new materials or techniques-although in a different method, is similar to Baselitz and Penk, who put much effort to create a new concept-is different from Carrara's marble like classic material and biological form of certainty. It is more of the artist's stubborn repetition, who guides Keum Hwa Choi's work to the art history and her country's traditional art work.

As time goes on, the artist consicously resists the infinity of art and accumulates her work with great effect and distinctly impusive in conceptual meaning.

An affirmation toward the existance of human form and its absence may be best expressed in Keum hwa Choi's work, which is found, ironically, in the viewer's fantasy of intuitively known emotions and passions, and in which the meaning of life and destiny justifies, and the deeply rooted exisitence rings, like in many headless forms. In here, mable's forever kept memory and chasing after the form in the formless will be surpassed.

Finally, the intensity of one wrinkle, the softness of one line, and the trace of one pattern are enough to say, like Faust of Goethe, that at that moment 'Stop. Now is the most beautiful!'

Guido Martini
Italian Embassador in Korea