按照常規慣性，金善的繪畫可以歸類于抽象藝術，但又不是純粹的抽象，是介於表現主義與抽象藝術之間的一種抽象，同時又有後印象藝術的一些特徵，如果指認為抽象表現主義，似乎更為恰當。在她2004年往前的作品中，時常有一些象徵性的表達，好像是自己的心緒日記，比如《糾纏》、《陣痛》、《渴望》、《碎夢》，也有《燦爛的季節》、《夏日的狂歡》，還有《創傷》與《包容》，在一幅名為《野心》的作品中明顯有一條兇猛的鯨，這一定暗示或象徵了某種生活中的遭遇；《糾纏》系列作品中，畫面主體總是被一紅一黑兩種不明物纏繞在一起，這裡如果不是她生活的故事寫照，就是她精神思想的自我解讀。等等這些都表明瞭她的繪畫不是從純粹形式出發的，正像他自己所講，他是不知不覺的走向了抽象。
金善，與許多女性畫家一樣，感性超于理性，主觀臆想超于客觀存在，自我存在的本體能動性超于外在事物形態的直觀影響。由於感性，對事物的認知往往主觀臆想，甚至心猿意馬，放縱想像，因此，更容易切入表現主義藝術的本質，因此也自然産生了表現性的語言形式。有人説，女人天生就是藝術家，正像康得所論述：女性世界的智慧並不在於推理能力，而在於感受能力（康得《論優美感和崇高感》）。金善在繪畫上的視覺想像，就體現了這种女性的感受力。感受力就是藝術創作的基本條件與動力。
她近年來的作品，大都來源於戈壁沙漠上的胡楊。胡楊，以它特有的自然形態與極富生命力的自然屬性，被太多的畫家、攝影家所親睞所涉獵，我們不去沙漠也常常能在展覽或其他媒體看到頑強不屈的金色胡楊。在金善的筆下，雖然以胡楊為創作的原型，但卻大相徑庭，截然不同。由於她面對胡楊，發現的是弧線與曲線的運動關係和象徵意義，因此，對這種從胡楊的外在形態轉換而來的結構關係就變成了視覺形式的主體。我們看到的不是胡楊本身，而是色彩的絢爛，筆觸的奔放，多種材料凝結出的視覺衝動，以及跳動多變的結構關係和肆意張揚的快活與激情。色彩上的自由表達，與曲線的動感結構，演奏了自然的變遷與生命的律動。如果一個人沒有很強的感受力，如何生發出如此豐富的表達？
金善的繪畫與許多國內走向抽象的畫家一樣，不例外地經歷了從寫實到抽象的過程，但是，不管是具象的作品還是抽象的作品，卻始終顯現出鮮明的散文般格調與詩性氣息。在色彩的濃郁鮮明冷暖互補中，不僅表達大自然萬物的生生滅滅之瞬息變化，而且演繹了畫家本人的豐富情感與單純而多彩的內心理想。在曲線與圓形的穿插構成中，既有收穫的快活，又有困惑的悲情。金善，用她敏感而自信的繪畫姿態，給自己打開了通向心靈自由的感性世界。這是經歷了歲月磨礪的收穫，也是懷揣自由理想的必然。
金善的畫讓我想到泰戈爾的詩意：感性的人更容易獨自游離在自我的空間遐想，面對“本是無情之物卻依舊可以讓自己那麼的傷感，只因無法走出思想的牽絆，無法擺脫情感的糾纏”。她的畫讓我們看到了“夏花之絢爛”、“秋葉之靜美”的自然意境，更讓我們感悟到“生如夏花之絢爛，死如秋葉之靜美”的理想的境界最求。我們仿佛聽見自然的回聲，“來自山谷和心間/以寂寞的鐮刀收割空曠的靈魂/不斷地重復決絕，又重復幸福/終有綠洲搖曳在沙漠”……“捕獲飄渺的唯美/一生充盈著激烈，又充盈著純然/總有回憶貫穿於世間。（泰戈爾《飛鳥集》）”金善的畫既是自然生命的載體，更是人生命運的解讀。色彩間流溢著生命的鮮活氣息，筆觸間飛動著情感的拍節韻律。也許是愁緒的亂麻剪刀，也許有激情深處的封塵密碼；或許是春的晨鳴暖日催復蘇，更或是秋的晚暮黃昏看果實……這大概就是她花非花葉非葉卻如歌如訴的抽象意境與內涵。
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 )