按照常规惯性，金善的绘画可以归类于抽象艺术，但又不是纯粹的抽象，是介于表现主义与抽象艺术之间的一种抽象，同时又有后印象艺术的一些特征，如果指认为抽象表现主义，似乎更为恰当。在她2004年往前的作品中，时常有一些象征性的表达，好像是自己的心绪日记，比如《纠缠》、《阵痛》、《渴望》、《碎梦》，也有《灿烂的季节》、《夏日的狂欢》，还有《创伤》与《包容》，在一幅名为《野心》的作品中明显有一条凶猛的鲸，这一定暗示或象征了某种生活中的遭遇；《纠缠》系列作品中，画面主体总是被一红一黑两种不明物缠绕在一起，这里如果不是她生活的故事写照，就是她精神思想的自我解读。等等这些都表明了她的绘画不是从纯粹形式出发的，正像他自己所讲，他是不知不觉的走向了抽象。
金善，与许多女性画家一样，感性超于理性，主观臆想超于客观存在，自我存在的本体能动性超于外在事物形态的直观影响。由于感性，对事物的认知往往主观臆想，甚至心猿意马，放纵想象，因此，更容易切入表现主义艺术的本质，因此也自然产生了表现性的语言形式。有人说，女人天生就是艺术家，正像康德所论述：女性世界的智慧并不在于推理能力，而在于感受能力（康德《论优美感和崇高感》）。金善在绘画上的视觉想象，就体现了这种女性的感受力。感受力就是艺术创作的基本条件与动力。
她近年来的作品，大都来源于戈壁沙漠上的胡杨。胡杨，以它特有的自然形态与极富生命力的自然属性，被太多的画家、摄影家所亲睐所涉猎，我们不去沙漠也常常能在展览或其它媒体看到顽强不屈的金色胡杨。在金善的笔下，虽然以胡杨为创作的原型，但却大相径庭，截然不同。由于她面对胡杨，发现的是弧线与曲线的运动关系和象征意义，因此，对这种从胡杨的外在形态转换而来的结构关系就变成了视觉形式的主体。我们看到的不是胡杨本身，而是色彩的绚烂，笔触的奔放，多种材料凝结出的视觉冲动，以及跳动多变的结构关系和肆意张扬的快活与激情。色彩上的自由表达，与曲线的动感结构，演奏了自然的变迁与生命的律动。如果一个人没有很强的感受力，如何生发出如此丰富的表达？
金善的绘画与许多国内走向抽象的画家一样，不例外地经历了从写实到抽象的过程，但是，不管是具象的作品还是抽象的作品，却始终显现出鲜明的散文般格调与诗性气息。在色彩的浓郁鲜明冷暖互补中，不仅表达大自然万物的生生灭灭之瞬息变化，而且演绎了画家本人的丰富情感与单纯而多彩的内心理想。在曲线与圆形的穿插构成中，既有收获的快活，又有困惑的悲情。金善，用她敏感而自信的绘画姿态，给自己打开了通向心灵自由的感性世界。这是经历了岁月磨砺的收获，也是怀揣自由理想的必然。
金善的画让我想到泰戈尔的诗意：感性的人更容易独自游离在自我的空间遐想，面对“本是无情之物却依旧可以让自己那么的伤感，只因无法走出思想的牵绊，无法摆脱情感的纠缠”。她的画让我们看到了“夏花之绚烂”、“秋叶之静美”的自然意境，更让我们感悟到“生如夏花之绚烂，死如秋叶之静美”的理想的境界最求。我们仿佛听见自然的回声，“来自山谷和心间/以寂寞的镰刀收割空旷的灵魂/不断地重复决绝，又重复幸福/终有绿洲摇曳在沙漠”……“捕获飘渺的唯美/一生充盈着激烈，又充盈着纯然/总有回忆贯穿于世间。（泰戈尔《飞鸟集》）”金善的画既是自然生命的载体，更是人生命运的解读。色彩间流溢着生命的鲜活气息，笔触间飞动着情感的拍节韵律。也许是愁绪的乱麻剪刀，也许有激情深处的封尘密码；或许是春的晨鸣暖日催复苏，更或是秋的晚暮黄昏看果实……这大概就是她花非花叶非叶却如歌如诉的抽象意境与内涵。
2013/12/6于京北上苑
Beautiful like a summer flower, simple like an autumn leaf…:Kim Sun’s Realm of Painting
Author: Li Xiangming
According to the common wisdom, Kim Sun art can be classified as abstract, but not purely so since it also leans towards Expressionism. It would therefore be more appropriate to call it abstract Expressionism. In her works previous to 2004, there are some symbolical expressions, a kind of a diary of her affective states, exemplified in works such as "Entanglement", "Labor Pains", "Desire", "Broken Dreams", but also her "Brilliant Season", "Summer carnival", "Trauma" and "Forgive". In her work titled "Ambition", features a ferocious whale, which must have some deeper symbolical meaning. In the series "Entanglement ", the figure is entangled in red and black substance, which graphically illustrates a certain strife in her thought which almost unconsciously moves from the figurative toward the abstract.
In Kim Sun’s paintings, as in those of many female artists, the emotional exceeds the rational, subjective reality eclipses objective reality. One’s own body takes precedence over the external visual impressions. Emotionally colored perceptions of things are often subjectively conceived, indulging in imagination and expressive language. This confirms again that women are born artists, whose wisdom, according to Kant, is not reasoning ability but ability to feel (Kant, "On the beautiful and sublime sense of feeling"). Kim Sun’s visual imagination embodies this particular kind of female artistic sensibility and is the prime mover in her art.
Her recent works have as their main subject a desert poplar (Populus euphratica) whose unique natural properties and form full of vitality and vigor have captured the attention of photographers and painters who have popularized in the media this golden leaved indomitable tree of the desert. In Kim Sun's painting, though, this prototype is transformed into abstract arcs and curves the relationship between which has a symbolical significance. In a way, the morphology of this tree is converted into that of a human body. We no longer see Populus itself, but the gorgeous colors, bold strokes, a variety of materials extracted and condensed out of the visual impulses, as well as ever changing structures beating with assertive happiness and passion. Colors, free movement, vigorous curves suggest all natural processes and rhythms of life which could only be expressed by an artist with a strong sensibility.
As this is the case with many contemporary Chinese abstract painters, Kim Sun’s painting, moving either from realistic to abstract or from figurative to abstract, always have a narrativewith a poetical flavor. Rich in bright colors, they do not only express the ever changing nature of things that came into being and perish, but they also reflect the artist's own rich and colorful emotions and ideals of a pure heart. Curving and mutually entangling, Kim Sun’s painting strokes, confident and sensitive at the same time, testify a spiritual freedom – a harvest of a life long artistic experience..
Kim Sun’s paintings remind one of Rabindranath Tagore's saying that people like to drift in a reverie in their own emotional space. Facing this is a cruel thing but still can make yourself so sad, this inability to liberate oneself from fetters of thought, inability to get out of emotional entanglement. Kim Sun’s paintings make us visualize Tagore’s beautiful verses "Let life be beautiful like summer flowers and death like autumn leaves" and again “The birth and death of the leaves are the rapid whirls of the eddy whose wide circles move among stars” (Tagore: “Stray Birds”). In Kim Sun’s paintings we could hear the echo of nature "from the valleys and the heart” which "captures the ethereal aesthetic” ("Stray Birds"). Painting is both a natural life-supporter, and an interpretation of the fate of life. Fresh and breathing life, flying between the strokes with emotional verve, stroke imbued with emotional rhythm and a touch of melancholy.
Power by YOZOSOFT
(Cathrine kang translation )