“An Oriental poem soaks its way through a modern shape”, says art critic G. Boudaille in a review of Seund Ja Rhee’s works. The high delicacy, accuracy and affection that we can feel from her works are products of her close observation of all objects around her and of her assimilative living in that world.

  Rhee’s works, starting from fine lines to large mural paintings, bear the heritage of an Oriental woman, full of shyness by nature, but, at the same time, liberated in Paris from her ancestral yoke.

  She has been accustomed to Paris among dreads and it cost her several years. She still fears Paris but cannot but live in the beautiful place. When delighted, she hopes, when sad, she drop tears. She lives in herself and that with close contacts with the universe surrounding her.

When she presented an exhibition at the Galerie Cavaléro, Cannes, in 1960, she said, “I do not know anything except myself, a woman. I know the woman-like earth too. It covers the sizzling fiery rocks with soil and calmly receives storms and high waters. ”

  Rhee’s works show touches of magic colors in simple shape of construction. There are architectural toughness juxtaposed with soft and sensitive emotion, of her fine characteristics.

  Rhee’s success came from the combination of international minds and Oriental moods. She is arising with her own style while various schools of minds and paintings are flickering in the current generation.

After incessant to creative activities in Paris for these fifteen years, Rhee returned home temporarily to show her works to her native people. I send my sincere wishes to Rhee, hoping her works to give delights and help to many Koreans and art-loving students.

August 10, 1965

Paris

By Raymond Nacenta

Director of Galerie Charpentier