Yeonriji; Inosculation 

Editor: Here we have Soey Milk’s mixed-media painting, "Yeonriji; Inosculation." The scene depicts two figures interwoven with branches and painterly gestures. It feels unsettling, yet the composition holds my attention. What aspects of its construction stand out to you? Curator: The composition immediately suggests a return to the principles of figuration within the context of neo-expressionism. Note the interplay between representation and abstraction. The figures are rendered with a high degree of realism, yet the background dissolves into expressive marks and fields of colour. Editor: So, you are pointing out the contrast, rather than focusing on subject matter. Is there significance to this deliberate discordance? Curator: Precisely. Observe how the figures are positioned: their poses, the angles of their bodies, and their interactions with the binding elements, lines, et cetera. It's a clear manipulation of the classical reclining nude. The dynamic interaction suggests a push and pull between vulnerability and strength, objectification, and self-possession. These dichotomies force us to confront preconceived notions of beauty. What about the use of colour – how do the cool blues contrast with the earthy tones, and what impact does that have on the overall visual experience? Editor: I see it creates visual tension that further adds to the feeling of uncertainty. It makes you work as the viewer, which I think is a point in contemporary work. Thank you for the new insights. Curator: My pleasure. Thinking about it, the strength of Milk’s work lies not just in what is depicted, but in how those depictions prompt us to question our assumptions of form, tradition, and representation itself.