The use of so-called raw canvas to apply pigments directly on the base became prevalent among the works of Color Field artists in the mid-60s. Although the use of the entire canvas itself was a methodological phenomenon, it was actually closer to a structural change from the long historical perspective of Western painting since the certain thickness of pigments disappeared as a structural characteristic of Western painting. From a methodological perspective, however, direct application of pigments was a method universally used in Oriental calligraphy and painting. Oriental artists did not react with astonishment or embarrassment to such change since it was something they were already familiar with. As noted, Oriental calligraphy or painting is of a structure that applies ink directly on paper. There is no matière that appears with the application and accumulation of pigments or certain base (membrane). In this vein, the canvas base is established as a key element of painting. This is also the reason why margins in Oriental painting are not merely empty space, but on an equal footing with the painted portions.

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From the perspective of Western painting, Yun Hyong-keun's methodology can be viewed in association with that of Color Field artists, but it is directly associated with the methodology of Oriental calligraphy or painting from the viewpoint of its ancient transcendentalism. Such transcendentalism is also manifested naturally in the methodology employed by quite a few number of Korea's contemporary artists. It short, their avant-garde calligraphic style, the spreading of paint resembling ink stain, and the subtle changes of contraction are all direct continuation of the methodology of Oriental calligraphy or painting. These are the natural manifestation of an inherently existing element rather than that manifested and initiated by some external inspiration or influence. It is for this reason that an inner profoundness found in Yun's works is associated more with Oriental ink painting rather than with the works of Color Field artists.

 

One prominent characteristic of Oriental calligraphy or painting's methodology is the generative trend of according significance to the progress and development itself instead of striving for completion. What we encounter in Yun's works is a certain moment in progress at present rather than completion. The artist draws lines on the canvas consistently, but repetitively since one line itself does not signal completion. While the repetition of lines takes place by the intentional will of the artist, it in turn influences another development in progress by its own production. The spreading of paint resulting from the repetitively drawn lines penetrates through the base of raw paper, creating an unexpected being or existence before the eyes. As in the words of the artist himself, he paints "without any objective of painting something", but in the end "something that is not anything" is created. The artist defines this as "that something which is not tedious", or something which is always new.

 

In some ways, Yun's works create a paradox of that "something" which is manifested by erasing painting and its very objective. "Without the objective of painting something" means not being conscious of the painting itself. Nevertheless, the painting existing before the eyes as a result is one that already does not exist even as it is there - an absent painting. This actually signifies a painting being born or created naturally. Perhaps one might say "that something which is not tedious" is that which is being born naturally and which exists before the eyes as nature.