Yun, Hyong-keun has long obtained a significant attention from Korean arts arena because of his characteristic practice and unrelenting passion for arts. His artistic world well proves the boundless possibility of Korean arts.
Yun, Hyong-keun's work can be explained this way. Material: Yun uses canvas without applying any basic pigment to provide a natural feeling of cloth itself, not a material on which something is represented. Only brunt-umber and ultra-marine-blue are applied many times. Texture as void: When we use the term "aesthetic of the void," the works of Yun clearly fit into this. The "void" itself is completely meaningless; however, what its presence makes meaningful is "relation." In his painting, relation is first found in the relationship between the blank space and colored space. Going one step further, the relation is found in the interaction between the color surfaces themselves, and finally there is the relation between the surface of the canvas and the space which exists beyond it. That is, Yun's paintings claim as their own the infinity of space which exists outside by pulling inward everything which lies without. It is not that color surfaces are placed on the top of the blank space and thus fill up the void; rather, the color soaks into the blank spaces, and then the dualistic structure of the background and the color surfaces is restored, and the overall surface of the painting achieves a unique texture, "dyed" with emptiness. Work process: The process of creating his art lies beneath his works themselves, which is not something anyone can easily notice. Though he retouches canvas with umber and blue many times, it turns dark brown and black, and a part of canvas is remained raw cloth.
His painting remains calm. There are no brilliant decorations, no technical elaboration, but just a silent black surface which controls its space like a big lump and empty space. The colored space abuts, on one side and through part of the center, another infinitely horizontal void, the color surface and the void assailing each other, overlapping on each other. Just no real boundary exists between the void and the color surfaces. Yun, Hyong-keun's painting gradually makes people assimilated as the color surface and the void, and the picture and outside space are assimilated each other. This is the inner power that Yun's works emit, while they always remain silent and static.