As a child, Shim Moon-Seup grew up close to nature, and he has remained close to it ever since. It is therefore perfectly logical that he should be interested in simple, elementary materials. The nature of matter brings him close to the matter of nature. And if he loves the essential, primitive (as in, close to the origins) aspect of these materials, it is above all for the power and density that emanate from the purity of water or the rough appearance of hewn wood. But even more than the specific character and intrinsic power of such and such an element, what Shim Moon-Seup seeks is the encounter and dialogue created by juxtaposing two or three of them together. For his work is organised essentially around the relations of tension and balance created by bringing together opposites such as hard and soft, straight lines and curves, verticals and horizontals, natural (a stone) and industrial (an iron sheet), etc.
Whether they shout it out or whisper it low, all Shim Moon-Seup’s works are involved with the concept of energy : human energy, natural energy, and the energy in man’s existential relation to nature. Hence this constant search for movement, these frequent evocations of flowing water, the work on rhythms, cycles and transience. Far from focusing on a fixed evocation of nature, Shim Moon-Seup chooses to directly reveal the forces that breathe life into reality, the energy fields that generate all movement : in other words, he chooses to make each work an example and a metaphor of life’s fragile equilibrium.
From [Shim Moon-Seup],
by Henri-François Debailleux (Art Critic)