In “Integration with Nature,” both the human and the horse lower their heads slightly, adopting a posture of resistance. This represents the harsh natural environment, such as severe cold and wind, and the raging forces of nature. The horse’s tail is also straightened horizontally by the strong wind. The overall simplicity and stillness of the image signify overcoming the harshness of nature and achieving stability.
Through this posture, the artist sought to express “vitality,” “stability,” and the “courage” and “hope” to overcome disaster and hardship. Furthermore, the frequent appearance of humans and horses together in the artist’s works stems not only from representing the relationship between nature and humanity, but also from the deep connection between the horse’s presence and the “life” of the Mongolians in their grassland lifestyle. Therefore, in this work, along with the posture of resistance against the harsh nature, the warm “temperature” generated by the “love” and “bond” between the horse and human is expressed as resistance against the severe cold and wind, emphasizing the “life” of the human.
Furthermore, the horse’s legs are not depicted, but rather horizontally up to the knees, representing the image of walking through a river, thereby symbolizing the natural element of “water.” The horse’s straight tail represents the natural element of “wind.” By combining these with the texture of “wood,” the most natural material, the artist expresses nature itself.
Regarding “Material Representation”
In my own work, I use wood not merely as a material, but as an integral part of the overall expression. In my installation series, I leave chainsaw marks on the surface, thereby preserving the texture of the wood. For me, influenced by the shamanistic idea that “all things have life,” wood possesses a warm, lifelike quality that, compared to other materials, seems to have a certain temperature. Therefore, in my own work, I use the marks of chisels and carving tools, as well as chainsaw marks, as part of the artwork.
In the work “Integration with Nature,” the surface retains traces of artificial tools such as chainsaws, chisels, and
carving tools, as well as the natural bark of the trees. These elements intertwine and intertwine, speaking to the relationship between “making” and “not making,” between “artificial” and “nature.” This shift from artificial to natural reflects the Mongolian nomads’ “view of nature,” emphasizing the need to “obey nature.” Furthermore, the horse’s chest and the human figure’s shoulders are rendered in a flat, two-dimensional manner, with gold leaf applied to the visible tree rings on the surface, emphasizing the circular, cyclical nature of grassland nomadic life.
Regarding “Spatial Representation”:
What I seek in my work is “spatial movement” and “spatial expanse.” This is deeply connected to the climatic characteristic of the vast Mongolian plateau.
The Mongolian plateau has grasslands, deserts, and forests. The central grassland region where I was born and raised is formed of low hills and flat plains, leading to the saying that the Mongolian grassland is made up of only sky and grass. That vastness made me feel free. Riding a horse freely across the flat, unobstructed grassland, feeling the wind and the scent of nature on my skin, and heading straight towards my destination without detours—all of these things gave me a sense of “infinity.” It is said that the vastness of such grasslands gave rise to traditional Mongolian vocal music such as urtynduu (long songs), khoomei (throat singing), and morin khuur (horsehead fiddle). The endlessly stretching grasslands influenced the long, flowing melodies, reflecting the expanse of the land and the flow of the wind. Following this intuitive experiential feeling, I began an attempt to give form to the “vastness” I had received and bring it to life in my creative work.
My own expressions of emptiness and existence are a practice that incorporates elements such as “flat surfaces” and “linear outlines” that symbolize the plains, and attempts to show “expansion” and “movement” in the space surrounding the forms. In the work “Fusion with Nature,” the flat surfaces that appear as shapes are based on the concept of “strong, straight-flowing wind and energy” that blows across a grassland. The wind and energy are simplified to flat surfaces so that they continuously fly and pass by without obstruction. The horse’s tail is also straightened horizontally as a result, further reinforcing the linear contours. This causes the force to extend in the forward and backward (left and right) directions, representing an expanding “space” reminiscent of a vast grassland. In other words, through these flat surfaces and the linear contours visible therein, the artist aimed for the spirit, force, and energy emanating from the work to resonate far and wide, like the sounds of hortindhoo (long songs), khoomei (throat singing), or morin khuur (horsehead fiddle).