Seung Yoon Choi’s definitive brush touch leaves blue strokes on canvas that move organically, and encounter and overlap themselves to create dynamic images. He expresses the fundamentals of the invisible world with the sensation from color and the movement from the brush strokes. Many of his works are mainly solid blue. It is the color of the essence and ambilaterality for him, which best suits the concept of paradox and balance that he wants to express. It is the primary color of the earth when light first encounters the sky and water, and contains both sides of hope and despair, and fervent and cold. With his custom-made tools, he dashes off on a canvas laid flat on the floor, and captures both the painterly movement and the moment of abeyance. His vision of the world’s essence is comprised of oxymoron. He often thinks of such unnoticeable things around us, and reads the world of coexistence and balance between the opposites; the universe and the lives, Yin and Yang, beginnings and ends, and so on. His lines and spaces are precisely controlled as if they move, collide, harmonize and ultimately come to life on canvas. Some titles of his work such as , and

suggest that beginnings and ends are parallel and are in contact. They are inseparable whole and ‘one’. Here we can see that time and movement are understood as a flux. According to Henri Bergson, there are only perpetual changes in the context of eternal time, and thus beginning and end are essentially a single entity. This persistency is a route to pure changes, lives and movements. Hence, it inevitably implies totality. The consciousness of life does not exist independently but unfolds as a continuous flux connected with others. His painting is a generative maneuver that creates qualitative differences, and manifestation of repetitively changing lives.