https://radarseoul.com Radar Fri, 08 Sep 2023 04:51:39 +0000 https://radarseoul.com en https://radarseoul.com/Homepage-left Wed, 30 Aug 2023 16:02:51 +0000 Radar https://radarseoul.com/Homepage-left Radar &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; ep 3. Behind the Scenes비하인드 신&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; The well-known Korean proverb goes, 'As long as you reach Seoul, any path will suffice,' implying that the end justifies the means. Amidst the hustle of our daily urban lives, fulfillment often arises not from the steps we take or the processes we undergo, but rather from the achievement of our goals and the realization of our objectives. It's only when we finally encounter the completed outcome that the journey we've embarked upon truly seems to hold significance. However, as we sail through life, there are moments that may challenge this value system—moments that prompt us to question the process rather than the ultimate long-term destination: Why are we striving to reach a particular destination? What originally motivated us to set foot on this path? Which path among many will we choose to reach our goal? In Episode 3, Radar introduces three artists, each of whom brings forth these notions in their own unique ways: Sejin Kim, Jina Park, and Suh Yongsun. Through the stories of these three artists, Radar aims to share the unnoticed shadows of life, ever-present yet concealed until consciously observed. 모로 가도 서울만 가면 된다고 했었던가, 매일을 살아가는 도심 속 우리는 종종 과정과 단계보다는 결과와 목표의 달성으로부터 성취감을 얻곤 한다. &nbsp;완성된 결과물이 눈 앞에 있을 때, 혹은 목적지에 도달했을 때 비로소 지나온 순간들이 가치를 지니게 되는 것이다. 그러나 살다 보면 어느 날 불현듯,&nbsp; 꼭 그렇지만은 않다는 걸 깨닫게 해주는 순간들이 찾아온다. 어디에 가는가라는 질문보다는 그곳에 우리는 왜 가려하는가, 무엇이 우리로 하여금 그곳을 향하게 만들었는가, 또는 그곳에 도착하기 위해 어떠한 길을 택할 것인가라고 자문하게끔 하는 순간들 말이다. 에피소드 3에서는 서로 다른 방식과 소재들로 이러한 질문들을 던지는 김세진, 박진아, 그리고 서용선을 소개한다. ‘비하인드 신’을 통해 틀림없이 현존하면서도 의식하기 전엔 보이지 않는 삶의 그림자들을 포착한 이들의 작업을 함께 나누고 싶은 바람이다. Our third episode highlights:Sejin Kim&nbsp;김세진&nbsp; Jina Park&nbsp;박진아 Suh Yongsun 서용선 To propose a new artist for an interview, contact us at: ︎ ︎ ©&nbsp; 2024 Radar https://radarseoul.com/Ho-Jae-Kim Wed, 06 Sep 2023 07:16:36 +0000 Radar https://radarseoul.com/Ho-Jae-Kim Ho Jae Kim (b. 1993) “A Man-made Sunset” EN/KO Released on 8 Sep 2023Featured in ep. 1 ︎︎ HO JAE KIM’s artistic journey has taken him from a childhood in one culture to a promising career in another. &nbsp;After earning his BFA at the Rhode Island School of Design (RISD), he initially aspired to become a graphic designer but later shifted his focus to painting. His work features a distinct characteristic arising from his innovative use of 3D modeling programs and inkjet transfer techniques, which enable him to achieve remarkable precision. His art has been showcased across the United States, establishing him as an emerging figure in the contemporary art scene. With upcoming shows to be held in Harper’s, Los Angeles (2023); and Nicodim Gallery, New York (2023), his works have been previously featured in Harper’s Chelsea, New York (2023); Galerie 75 Faubourg, Paris (2022); and Sotheby’s Institue of Art, New York (2018). His work is part of the Morgan Stanley Collection. He is currently based in New York. <img width="5239" height="6580" width_o="5239" height_o="6580" data-src="https://freight.cargo.site/t/original/i/25ae81f90c12fe58a2cd836af8b8b7e57e19a2d69b235c030cb069a8f191d53b/HKIM071---Ho-Jae-Kim---Day-15-Baggage-01.jpg" data-mid="189941247" border="0" alt="Ho Jae Kim, Day 15: Baggage, 2023. Oil, inkjet transfer, enamel and paper on canvas. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" data-caption="Ho Jae Kim, &lt;i&gt;Day 15: Baggage&lt;/i&gt;, 2023. Oil, inkjet transfer, enamel and paper on canvas. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/25ae81f90c12fe58a2cd836af8b8b7e57e19a2d69b235c030cb069a8f191d53b/HKIM071---Ho-Jae-Kim---Day-15-Baggage-01.jpg" /> <img width="5561" height="7019" width_o="5561" height_o="7019" data-src="https://freight.cargo.site/t/original/i/914662233d992b22ef2c4203d04cafbb99889f7e17f362c1419f8003595f8dcc/HKIM068---Ho-Jae-Kim---Day-12-Fountain-01.jpg" data-mid="189917506" border="0" alt="Ho Jae Kim, Day 12: Fountain, 2023. Oil, inkjet transfer, enamel and paper on canvas. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" data-caption="Ho Jae Kim, &lt;i&gt;Day 12: Fountain&lt;/i&gt;, 2023. Oil, inkjet transfer, enamel and paper on canvas. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/914662233d992b22ef2c4203d04cafbb99889f7e17f362c1419f8003595f8dcc/HKIM068---Ho-Jae-Kim---Day-12-Fountain-01.jpg" /> <img width="4786" height="3670" width_o="4786" height_o="3670" data-src="https://freight.cargo.site/t/original/i/467bc5e1fc93be96b79ba51541ee76f8c3d1144bdd1ff4bc4897c6fe98c1b26d/2128CONTPTG_CDKR9_02-1.jpg" data-mid="189916419" border="0" data-scale="73" alt="Ho Jae Kim, Waiting Room, 2022. Oil, inkjet transfer, enamel on canvas. 76.2 x 101.6 cm (30 x 40 in). Courtesy of the artist" data-caption="Ho Jae Kim, &lt;i&gt;Waiting Room&lt;/i&gt;, 2022. Oil, inkjet transfer, enamel on canvas. 76.2 x 101.6 cm (30 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/467bc5e1fc93be96b79ba51541ee76f8c3d1144bdd1ff4bc4897c6fe98c1b26d/2128CONTPTG_CDKR9_02-1.jpg" /> <img width="4894" height="6156" width_o="4894" height_o="6156" data-src="https://freight.cargo.site/t/original/i/9dd6c32a4ba31dd27f9fc0eb07b0e17e7ce1c5e2ca5d797d03a3836df2cad57e/HKIM057---Ho-Jae-Kim---Day-1-Richard-Parker-01.jpg" data-mid="189940985" border="0" data-scale="73" alt="Ho Jae Kim, Day 1: Richard Parker, 2022. Oil, inkjet transfer, enamel and paper on canvas. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" data-caption="Ho Jae Kim, &lt;i&gt;Day 1: Richard Parker&lt;/i&gt;, 2022. Oil, inkjet transfer, enamel and paper on canvas. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/9dd6c32a4ba31dd27f9fc0eb07b0e17e7ce1c5e2ca5d797d03a3836df2cad57e/HKIM057---Ho-Jae-Kim---Day-1-Richard-Parker-01.jpg" /> <img width="5192" height="6542" width_o="5192" height_o="6542" data-src="https://freight.cargo.site/t/original/i/9346378c74be6ddf0a9ab859276c0662bb389d14e0682e8eacecb084088b9b1a/HKIM070---Ho-Jae-Kim---Day-14-Rehearsal-01.jpg" data-mid="189940978" border="0" alt="Ho Jae Kim, Day 14: Rehearsal, 2023. Oil, inkjet transfer, enamel and paper on canvas. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" data-caption="Ho Jae Kim, &lt;i&gt;Day 14: Rehearsal&lt;/i&gt;, 2023. Oil, inkjet transfer, enamel and paper on canvas. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/9346378c74be6ddf0a9ab859276c0662bb389d14e0682e8eacecb084088b9b1a/HKIM070---Ho-Jae-Kim---Day-14-Rehearsal-01.jpg" /> <img width="5475" height="6854" width_o="5475" height_o="6854" data-src="https://freight.cargo.site/t/original/i/264ec7034581df29697cf45e2ac6e0d33a12e1d76288b02f6c51efeb5b3b8e7b/HKIM074---Ho-Jae-Kim---Musician-01.jpg" data-mid="189918687" border="0" alt="Ho Jae Kim, Day 18: Musician, 2023. Oil, inkjet transfer, enamel and paper on canvas. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" data-caption="Ho Jae Kim, &lt;i&gt;Day 18: Musician&lt;/i&gt;, 2023. Oil, inkjet transfer, enamel and paper on canvas. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/264ec7034581df29697cf45e2ac6e0d33a12e1d76288b02f6c51efeb5b3b8e7b/HKIM074---Ho-Jae-Kim---Musician-01.jpg" /> <img width="3253" height="4346" width_o="3253" height_o="4346" data-src="https://freight.cargo.site/t/original/i/a2ed0bcc7588bc21b02302ce9ff19a915afcd7ba01ba55bfd7cf5e15748bc721/HKIM038---Ho-Jae-Kim---Changing-Room-01-1.jpg" data-mid="189917823" border="0" data-scale="73" alt="Ho Jae Kim, Changing Room, 2022. Oil, inkjet transfer, enamel on canvas. 101.6 x 76.2 cm (40 x 30 in). Courtesy of the artist" data-caption="Ho Jae Kim, &lt;i&gt;Changing Room&lt;/i&gt;, 2022. Oil, inkjet transfer, enamel on canvas. 101.6 x 76.2 cm (40 x 30 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/a2ed0bcc7588bc21b02302ce9ff19a915afcd7ba01ba55bfd7cf5e15748bc721/HKIM038---Ho-Jae-Kim---Changing-Room-01-1.jpg" /> Swipe to see more images Could you please walk me through your process? How do you typically begin your work? When I have a promising idea in mind, I begin by creating pen drawings and rough sketches as reference images. Once I believe the idea has enough potential, I proceed to flesh out all the details in the drawing. My upcoming works, to be showcased in November at Harper’s, Los Angeles, draw inspiration from a short story I have written myself. I've been exploring the idea of creating paintings as part of a series, with each piece functioning as a scene from the narrative I've woven.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; I knew you had a deep connection to reading, but I wasn't aware that you were also a writer. Has writing your own story influenced your approach to painting? I’ve been contemplating how painting can thrive within an exhibition. I’ve wondered if there's a way to convey greater depth within a single artwork. Through this journey, I have come to recognize that, at least for me, crafting a cohesive series rather than standalone, sporadic paintings provides me with a better opportunity to communicate something truly impactful. I aim to convey a message or meaning akin to a story, and I've realized that a single piece of art has its limitations. When assembled together, I envision the entire body of work functioning like a musical symphony, each part contributing to a harmonious movement. So a symphony, in your case, would be analogous to a series with each individual painting correlating to a movement. I noticed your works are grouped into larger themes such as Butterfly Dream (2021),&nbsp;Homunculus (2021-22), Machines (2019-21), Purgatory&nbsp;(2021-22), and Carousel (2023). Do you begin by establishing an overarching theme for the series before creating individual pieces? Yes, I approach my work as if I were writing a book. Similar to authors like Haruki Murakami and Franz Kafka, my aim is to explore a common theme while weaving distinct characters and narrative plots into each piece. One concept I've dedicated considerable time to is the notion of the 'in-between' or liminal space, with the goal of presenting it in a more accessible manner. I've adopted this concept of 'Purgatory' from Dante’s Divine Comedy where souls await redemption and eventual entry in Heaven; this now serves as the overarching theme of my works. For each series, I work on developing a specific theme to build a cohesive body of work around it. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="5432" height="6819" width_o="5432" height_o="6819" data-src="https://freight.cargo.site/t/original/i/3efd28ca63ee252cf499a28a64ab3b81ef462da61df89f25f7f77235f8b8b9f9/HKIM064---Ho-Jae-Kim---Day-8-Laundry-List-01-1.jpg" data-mid="189918523" border="0" data-scale="74" alt="Ho Jae Kim, Day 8: Laundry List, 2023. Oil, inkjet transfer, enamel and paper on canvas. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" data-caption="Ho Jae Kim, &lt;i&gt;Day 8: Laundry List&lt;/i&gt;, 2023. Oil, inkjet transfer, enamel and paper on canvas. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/3efd28ca63ee252cf499a28a64ab3b81ef462da61df89f25f7f77235f8b8b9f9/HKIM064---Ho-Jae-Kim---Day-8-Laundry-List-01-1.jpg" /> <img width="1688" height="2250" width_o="1688" height_o="2250" data-src="https://freight.cargo.site/t/original/i/f149dd097443612fdcc8c02891e4187af182ce4fbbbc21953ed1cc8ced6eda00/HJK001---A-Thought--2023-Detail.jpg" data-mid="189917937" border="0" data-scale="45" alt="Ho Jae Kim, A Thought, 2023. Oil, inkjet transfer, enamel and paper on canvas. 76.2 x 50.8 cm (30 x 20 in). Courtesy of the artist" data-caption="Ho Jae Kim, &lt;i&gt;A Thought&lt;/i&gt;, 2023. Oil, inkjet transfer, enamel and paper on canvas. 76.2 x 50.8 cm (30 x 20 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/f149dd097443612fdcc8c02891e4187af182ce4fbbbc21953ed1cc8ced6eda00/HJK001---A-Thought--2023-Detail.jpg" /> Swipe to see more images Your work seems to require meticulous utilization of 3D modeling programs to create preliminary renderings before applying paint. Has this tool been instrumental in achieving the depth you aim to bring to life? If so, in what ways? Certainly. Creating a rendering using a 3D modeling program is closely tied to one of my major inspirations, Piero della Francesca, an Italian painter from the Early Renaissance. Working with rendering programs allows me to achieve a similar mathematical understanding of space, akin to Piero's approach. In his works, he meticulously calculated spatial relationships, the contours of figures, and object proportions with precision. It seems as though he contemplated the broader concept of humanity rather than the intricate details of individual subjects. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/5d1149706896fd6c7a1628ef2111c7da2653b6c5f6d245fd93cc9b5ae9cf2ed6/3d-modeling.jpg" data-mid="189916854" border="0" data-scale="83" alt="A view of 3D modeling program. Courtesy of the artist. Photo: Quyn Duong" data-caption="A view of 3D modeling program. Courtesy of the artist. Photo: Quyn Duong" src="https://freight.cargo.site/w/1000/i/5d1149706896fd6c7a1628ef2111c7da2653b6c5f6d245fd93cc9b5ae9cf2ed6/3d-modeling.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/0cd30c43c9eb0cdbd3ee0f7d0023b8a4e164cd9838cd01a66a75696fa1eecf48/IMG_9439_2-2.jpg" data-mid="189918396" border="0" alt="A photo of preliminary drawings taken from studio visit. Aug 2023." data-caption="A photo of preliminary drawings taken from studio visit. Aug 2023." src="https://freight.cargo.site/w/1000/i/0cd30c43c9eb0cdbd3ee0f7d0023b8a4e164cd9838cd01a66a75696fa1eecf48/IMG_9439_2-2.jpg" /> Swipe to see more images Tracking back to your early works, I’m interested in learning more about Theater&nbsp;Seats (2016-17). Was this your first official work after graduating? Unlike your recent pieces like Purgatory or Carousel, it doesn't feature any human figures despite the setting. How does it connect to your current artistic practice?" Created during my undergraduate years, Theatre actually marked my initial foray into using a 3D modeling program as a creative tool. The next challenge I encountered was the transition from the digital realm to the physical, and that's when the idea of fresco painting came to mind. In the medieval era, when masters worked on frescoes, they utilized life-sized renderings of cartoons – comprehensive preparatory drawings – in their studios. This was necessary due to the limited timeframe for applying paint in the fresco technique. Once the drawing and composition stages were complete, they would transport these renderings to the actual site and transfer the lines from the drawing onto the wall using a method involving poking holes and graphite transfers. Inspired by this transfer technique, I began exploring inkjet transfers, which became a fundamental part of my artistic process. The dominant gray tones in my earlier works reflect the experimental phase I underwent while working with transfers and 3D modeling. <img width="5269" height="3513" width_o="5269" height_o="3513" data-src="https://freight.cargo.site/t/original/i/147428a1267c6ab69d06fe7cf0c9ac304104f162a90c89a4d47a8391f4f88f16/Hojae-Kim-2.jpg" data-mid="189916985" border="0" data-scale="83" alt="Ho Jae Kim, Theater Seats, 2017. Oil, inkjet transfer, enamel on canvas. 183 x 244 cm (72 x 96 in). Courtesy of the artist" data-caption="Ho Jae Kim, &lt;i&gt;Theater Seats&lt;/i&gt;, 2017. Oil, inkjet transfer, enamel on canvas. 183 x 244 cm (72 x 96 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/147428a1267c6ab69d06fe7cf0c9ac304104f162a90c89a4d47a8391f4f88f16/Hojae-Kim-2.jpg" /> <img width="2473" height="1649" width_o="2473" height_o="1649" data-src="https://freight.cargo.site/t/original/i/d52b869d278d8728e70ae350202c53ef9eca131784df913c381131dcbf6bdc67/Hojae-Kim-5.jpg" data-mid="189917000" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/d52b869d278d8728e70ae350202c53ef9eca131784df913c381131dcbf6bdc67/Hojae-Kim-5.jpg" /> Swipe to see more images Even when observing the seats within the painting, I notice the recurring tile pattern, which persists in your later works like Laundry Day&nbsp;(2020), Lifeboat Simulation&nbsp;(2020), Actor&nbsp;(2021), and Day 3: Janitor&nbsp;(2022). Personally, it seems to serve as a distinctive visual marker that helps me identify your artistic style. Is this pattern chosen for its compositional and grid-like qualities in constructing space, or does it hold a deeper symbolic meaning for your work? Yes, one of the primary reasons involves how a grid can effectively represent space as a compositional element, as well as the concept of purgatory. During my time as a restaurant manager, the restroom of the restaurant where I worked was entirely covered in tiles, on all sides of the room. While it served as a rare sanctuary for me, as it was the only place where I could have some time to myself, I also felt a sense of suffocation due to the confined space and the repetitive nature of being in there. It serves as my personal symbol of what purgatory represents, and it also functions as a geometric tool to construct a sense of space. <img width="5224" height="6574" width_o="5224" height_o="6574" data-src="https://freight.cargo.site/t/original/i/cddf7ecac90f629020a21c42546a42fc4717f1ca5a99e7d62d9acc6948846a73/HKIM059---Ho-Jae-Kim---Day-3-Janitor-01.jpg" data-mid="189917029" border="0" data-scale="63" alt="Ho Jae Kim, Day 3: Janitor, 2022. Oil, inkjet transfer, enamel, and paper on canvas. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" data-caption="Ho Jae Kim, &lt;i&gt;Day 3: Janitor&lt;/i&gt;, 2022. Oil, inkjet transfer, enamel, and paper on canvas. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/cddf7ecac90f629020a21c42546a42fc4717f1ca5a99e7d62d9acc6948846a73/HKIM059---Ho-Jae-Kim---Day-3-Janitor-01.jpg" /> <img width="5792" height="8688" width_o="5792" height_o="8688" data-src="https://freight.cargo.site/t/original/i/4143caa1a73676998f32f626975e41a54d15f1340c8ac7ed59772a7e7c753703/HKIM059---Ho-Jae-Kim---Day-3-Janitor-04-1.jpg" data-mid="189917430" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/4143caa1a73676998f32f626975e41a54d15f1340c8ac7ed59772a7e7c753703/HKIM059---Ho-Jae-Kim---Day-3-Janitor-04-1.jpg" /> <img width="4026" height="5033" width_o="4026" height_o="5033" data-src="https://freight.cargo.site/t/original/i/5f08859b0d1fec8a206a58646de04284e34cebd7bdf325cc1d3a3258f874e980/HKIM077---Ho-Jae-Kim---Songs-of-the-Remaining-Days-02.jpg" data-mid="189918083" border="0" data-scale="54" alt="Ho Jae Kim, Songs of the Remaining Days, 2023. Oil, inkjet transfer, enamel and paper on canvas. 243.8 x 169 cm (96 &times; 66.5 in). Courtesy of the artist " data-caption="Ho Jae Kim, &lt;i&gt;Songs of the Remaining Days&lt;/i&gt;, 2023. Oil, inkjet transfer, enamel and paper on canvas. 243.8 x 169 cm (96 × 66.5 in). Courtesy of the artist " src="https://freight.cargo.site/w/1000/i/5f08859b0d1fec8a206a58646de04284e34cebd7bdf325cc1d3a3258f874e980/HKIM077---Ho-Jae-Kim---Songs-of-the-Remaining-Days-02.jpg" /> <img width="5792" height="8688" width_o="5792" height_o="8688" data-src="https://freight.cargo.site/t/original/i/295004a69400e030e0ac5f4ba281e05f246ec97438c6b92ccac544de960e1c75/HKIM077---Ho-Jae-Kim---Songs-of-the-Remaining-Days-06.jpg" data-mid="189918273" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/295004a69400e030e0ac5f4ba281e05f246ec97438c6b92ccac544de960e1c75/HKIM077---Ho-Jae-Kim---Songs-of-the-Remaining-Days-06.jpg" /> Swipe to see more images From what you've mentioned, it appears you're inclined to devise their own narrative and world through your works while incorporating visual motifs derived from your personal memories and experiences. What is the ultimate goal that you aspire to achieve through your artistic endeavors? Think about those awe-inspiring moments in nature, like sunrises and sunsets, or what you call 'bul-meong'*these days—elements that I believe captivate every human being inherently. Yes, one might be attached to different narratives and methodologies that may vary depending on their culture and background, but even before such consciousness, I believe there exists an innate attraction to certain things. For me, that's light. Light enables me to depict things beyond what we can merely see, as it elevates the sublime qualities of nature. I would say that my artworks represent my ongoing exploration of how to capture and convey the essence of light. In fact, this was also the inspiration behind Carousel (2023), which was featured in the exhibition of the same name held at Harper's Chelsea earlier this year. Have you ever stood in front of a carousel at night? The way it's illuminated, the carnival music playing, and its rotation—there's an indescribable quality that draws you in. It's almost like a man-made sunset. *"Bul-meong" refers to the act of spacing out while gazing at a burning fire, typically done during camping. <img width="8659" height="4191" width_o="8659" height_o="4191" data-src="https://freight.cargo.site/t/original/i/3eabfc4d67ae8cdb37e29ce05f86b498489f1835cfbc7ca0769f7a63cdb1663b/HKIM056---Ho-Jae-Kim---Carousel-01-compressed.jpg" data-mid="189918297" border="0" alt="Ho Jae Kim, Carousel, 2023. Oil, inkjet transfer, enamel and paper on canvas. Triptych: 243.8 x 518.2 cm (96 x 204 in). Courtesy of the artist" data-caption="Ho Jae Kim, &lt;i&gt;Carousel&lt;/i&gt;, 2023. Oil, inkjet transfer, enamel and paper on canvas. Triptych: 243.8 x 518.2 cm (96 x 204 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/3eabfc4d67ae8cdb37e29ce05f86b498489f1835cfbc7ca0769f7a63cdb1663b/HKIM056---Ho-Jae-Kim---Carousel-01-compressed.jpg" /> <img width="8583" height="6437" width_o="8583" height_o="6437" data-src="https://freight.cargo.site/t/original/i/0df4c55dc095f2a3efe3ed6b59ed520d7266920b423ebdedf7d60b326af5e8b1/003_-Ho-Jae-Kim---Carousel---Harpers-512.jpg" data-mid="189918571" border="0" alt="Installation view of Carousel at Harper's Chelsea, 2023. Courtesy of Harper's Gallery and the artist" data-caption="Installation view of &lt;i&gt;Carousel&lt;/i&gt; at Harper's Chelsea, 2023. Courtesy of Harper's Gallery and the artist" src="https://freight.cargo.site/w/1000/i/0df4c55dc095f2a3efe3ed6b59ed520d7266920b423ebdedf7d60b326af5e8b1/003_-Ho-Jae-Kim---Carousel---Harpers-512.jpg" /> <img width="6924" height="5193" width_o="6924" height_o="5193" data-src="https://freight.cargo.site/t/original/i/038ac91d71dbb251d4133bfb5d4bf4cd36fa7145d72c2b2cc79c457fcedbb137/010_-Ho-Jae-Kim---Carousel---Harpers-512.jpg" data-mid="189918575" border="0" alt="Installation view of Carousel at Harper's Chelsea, 2023. Courtesy of Harper's Gallery and the artist" data-caption="Installation view of &lt;i&gt;Carousel&lt;/i&gt; at Harper's Chelsea, 2023. Courtesy of Harper's Gallery and the artist" src="https://freight.cargo.site/w/1000/i/038ac91d71dbb251d4133bfb5d4bf4cd36fa7145d72c2b2cc79c457fcedbb137/010_-Ho-Jae-Kim---Carousel---Harpers-512.jpg" /> Swipe to see more images I see. What you aim to capture—the concept of sublime nature—seems to possess abstract qualities. Are there particular considerations you keep in mind when translating this onto the canvas? How do you maintain the essence of sublime nature while still making it concrete enough to fulfill its purpose? For me, utility begins with legibility—a universally recognized theme, like the concept of waiting in purgatory, for example—and my ability as an artist to depict something recognizable. If the audience can identify an object or a figure and label it as a car or a janitor, I consider that a form of success. This is also why I invest significant time in determining the placement of objects rather than focusing solely on what is being painted. Once recognizable objects and figures are in place, forming a coherent relationship, that, I would argue, constitutes a scene. It's a way to comprehend the dynamics of what the figures are doing on the canvas. Only with this understanding can the audience engage with the painting on a deeper level.&nbsp; Kim is featured in a group show Briefly Gorgeous at Songwon Art Center from Sep 1-9, 2023. For further details, please visit https://www.phillips.com/store/briefly-gorgeous&nbsp; ©&nbsp; 2023 Radar https://radarseoul.com/Ho-Jae-Kim-KOR Wed, 06 Sep 2023 09:13:45 +0000 Radar https://radarseoul.com/Ho-Jae-Kim-KOR 김 호 재 (b. 1993) “맨메이드 선셋” EN/KO Released on 8 Sep 2023Featured in ep. 1 ︎︎ 김호재는 한국에서 태어나 뉴욕을 기반으로 활동 중인 작가로, 2016년 로드아일랜드 스쿨 오브 디자인(RISD) 졸업 후 뉴욕에서 활발한 전시 활동을 이어나가고 있다. 3D 모델링과 잉크젯 트랜스퍼 기법을 통해 세밀한 드로잉 단계를 거치는 작업 방식은 회화의 한계에 도전하는 듯한 생생하고 입체적인 공간감을 구현해낸다. 치밀한 구성을 바탕으로 옮겨진 배경 위에는 어딘지 모르게 &nbsp;생경하고 공허한 풍경과 인물이 등장한다. 이번 프리즈 서울 기간에 맞추어 한국에서의 첫 단체전에 참여하게 된 그와 이야기를 나누어 보았다. 뉴욕과 로스 앤젤레스, 대만 등에서 전시를 앞둔 그는 뉴욕 하퍼스 첼시(2023); 파리 포브루 갤러리 75(2022); 뉴욕 소더비 인스티튜트(2018) 등을 통해 작업을 선보인 바가 있다. 그의 작품은 모건 스탠리 컬렉션에 소장되어 있다.&nbsp; <img width="4894" height="6156" width_o="4894" height_o="6156" data-src="https://freight.cargo.site/t/original/i/1fbd57c40bf3dc1093c90991ea65ab18c18d2fd95a703ba1428f038436e76c86/HKIM057---Ho-Jae-Kim---Day-1-Richard-Parker-01.jpg" data-mid="189943500" border="0" alt="김호재, Day 1: Richard Parker, 2022. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" data-caption="김호재, &lt;i&gt;Day 1: Richard Parker&lt;/i&gt;, 2022. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/1fbd57c40bf3dc1093c90991ea65ab18c18d2fd95a703ba1428f038436e76c86/HKIM057---Ho-Jae-Kim---Day-1-Richard-Parker-01.jpg" /> <img width="3253" height="4346" width_o="3253" height_o="4346" data-src="https://freight.cargo.site/t/original/i/a2ed0bcc7588bc21b02302ce9ff19a915afcd7ba01ba55bfd7cf5e15748bc721/HKIM038---Ho-Jae-Kim---Changing-Room-01-1.jpg" data-mid="189918892" border="0" alt=" 김호재, Changing Room, 2022. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜. 101.6 x 76.2 cm (40 x 30 in). Courtesy of the artist" data-caption=" 김호재, &lt;i&gt;Changing Room&lt;/i&gt;, 2022. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜. 101.6 x 76.2 cm (40 x 30 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/a2ed0bcc7588bc21b02302ce9ff19a915afcd7ba01ba55bfd7cf5e15748bc721/HKIM038---Ho-Jae-Kim---Changing-Room-01-1.jpg" /> <img width="4786" height="3670" width_o="4786" height_o="3670" data-src="https://freight.cargo.site/t/original/i/467bc5e1fc93be96b79ba51541ee76f8c3d1144bdd1ff4bc4897c6fe98c1b26d/2128CONTPTG_CDKR9_02-1.jpg" data-mid="189918881" border="0" data-scale="73" alt="김호재, Waiting Room, 2022. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜. 76.2 x 101.6 cm (30 x 40 in). Courtesy of the artist" data-caption="김호재, &lt;i&gt;Waiting Room&lt;/i&gt;, 2022. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜. 76.2 x 101.6 cm (30 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/467bc5e1fc93be96b79ba51541ee76f8c3d1144bdd1ff4bc4897c6fe98c1b26d/2128CONTPTG_CDKR9_02-1.jpg" /> <img width="5561" height="7019" width_o="5561" height_o="7019" data-src="https://freight.cargo.site/t/original/i/914662233d992b22ef2c4203d04cafbb99889f7e17f362c1419f8003595f8dcc/HKIM068---Ho-Jae-Kim---Day-12-Fountain-01.jpg" data-mid="189918890" border="0" alt="김호재, Day 12: Fountain, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" data-caption="김호재, &lt;i&gt;Day 12: Fountain&lt;/i&gt;, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/914662233d992b22ef2c4203d04cafbb99889f7e17f362c1419f8003595f8dcc/HKIM068---Ho-Jae-Kim---Day-12-Fountain-01.jpg" /> <img width="5239" height="6580" width_o="5239" height_o="6580" data-src="https://freight.cargo.site/t/original/i/817f9ebb133c72fa0de16078172b5c87b409416cec6f2b801f5d1b3188037d51/HKIM071---Ho-Jae-Kim---Day-15-Baggage-01.jpg" data-mid="189944562" border="0" alt="김호재, Day 15: Baggage, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist." data-caption="김호재, &lt;i&gt;Day 15: Baggage&lt;/i&gt;, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist." src="https://freight.cargo.site/w/1000/i/817f9ebb133c72fa0de16078172b5c87b409416cec6f2b801f5d1b3188037d51/HKIM071---Ho-Jae-Kim---Day-15-Baggage-01.jpg" /> <img width="5192" height="6542" width_o="5192" height_o="6542" data-src="https://freight.cargo.site/t/original/i/c96da97c15c104a59fb389d643836c50c4bd595ed60db7d3aeb788339a1b75c6/HKIM070---Ho-Jae-Kim---Day-14-Rehearsal-01.jpg" data-mid="189943630" border="0" alt="김호재, Day 14: Rehearsal, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" data-caption="김호재, &lt;i&gt;Day 14: Rehearsal&lt;/i&gt;, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/c96da97c15c104a59fb389d643836c50c4bd595ed60db7d3aeb788339a1b75c6/HKIM070---Ho-Jae-Kim---Day-14-Rehearsal-01.jpg" /> <img width="5475" height="6854" width_o="5475" height_o="6854" data-src="https://freight.cargo.site/t/original/i/264ec7034581df29697cf45e2ac6e0d33a12e1d76288b02f6c51efeb5b3b8e7b/HKIM074---Ho-Jae-Kim---Musician-01.jpg" data-mid="189918907" border="0" alt="김호재, Day 18: Musician, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" data-caption="김호재, &lt;i&gt;Day 18: Musician&lt;/i&gt;, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/264ec7034581df29697cf45e2ac6e0d33a12e1d76288b02f6c51efeb5b3b8e7b/HKIM074---Ho-Jae-Kim---Musician-01.jpg" /> Swipe to see more images 처음 아이디어가 떠오를 때 어떤 식으로 기록을 하고 화면에 옮기는지 궁금해요. 떠오르는 아이디어가 있을 때면 그 자리에서 볼펜으로 간단한 드로잉과 스케치 작업을 한 후에 참고용 이미지들로 사용해요. 만약 그 아이디어가 발전 가치가 있다고 생각되면 명암을 덧대는 등 빈 공간을 채우죠. 현재는 11월에 로스 앤젤레스에서 열릴 개인전을 준비 중인데요, 그 때 공개될 신작들은 제가 직접 쓴 단편소설을 기반으로 한 작업들이에요. 각 회화는 소설 속의 한 장면에 상응해 전체 내러티브의 일부를 구성하는 셈이죠. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; 평소에 독서를 즐겨한다는 점은 알고 있었지만, 직접 글을 쓰시는 건 처음 알았네요. 글을 쓰는 행위가 작가로서 회화를 접근하는 시선이나 방식에도 영향이 있었나요? 네, 그럼요. 저는 회화가 전시라는 하나의 거시적인 맥락 속에서 어떻게 기능할 수 있을까라는 질문에 대해 많이 고민해요. 한 점의 작품일지라도 마치 여러 점이 모여있을 때와 같은 다층적인 의미를 전달하길 원하거든요. 전시라는 맥락에서 동떨어진 개별 작업은 제가 추구하는, 일종의 스토리와 같은 서사를 전달하는 데는 한계가 있다는 것을 많이 느꼈어요. 한 시리즈에 해당하는 작업들이 모두 한 데 모였을 때 유기적인 서사를 형성해내는 것을 좋아해요. 음악으로 따지자면 마치 악장들이 모여 하나의 교향곡을 완성해내는 것처럼요. 개별적인 작업들을 오랜 시간에 걸쳐 한 뒤 이후에 하나의 연작으로 묶거나 타의적으로 평론가 등에 의해 유형화되는 작업을 하는 작가들이 있죠. 작가님의 이전 시리즈인 &lt;Butterfly Dream&gt;(2021), &lt;Homunculus&gt;(2021-22), &lt;Machines&gt;(2019-21),&nbsp; &lt;Purgatory&gt;(2021-22), 그리고 최근작인 &lt;Carousel&gt;(2023)에 이르기까지, 작가님은 모두 시리즈를 염두에 두고 처음부터 접근하신다는 말씀이시군요. 맞아요. 저는 글을 쓰듯이 작업을 해요. 제가 좋아하는 무라카미 하루키나 프란츠 카프카의 작품을 보면 결국 나타내고자 하는 이야기는 비슷하지만 각 글에 담긴 스토리라인이나 인물들은 다르잖아요. 저는 오랫동안 ‘사이의 공간(in-between’), 혹은 제 3의 공간 (liminal space)이라는 개념을 시각적으로 구현하는 방법에 대해 관심을 가져왔어요. 그리고 그 수단으로 단테의 &lt;신곡&gt;의 한 챕터인 ‘연옥(Purgatorio)’을 선택했고, 지금까지 저의 전 작업들의 거시적인 주제가 되어왔어요. 단죄를 받는 천국과 지옥의 중간인 이곳에서 연상되는 기다림과 공허함 등이 인상 깊었다랄까요. 이처럼 하나의 큰 틀 아래, 개별 회화들이 촘촘한 구성 아래 동일한 주제로 귀결되는 방식으로 접근을 하고 있습니다. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="5432" height="6819" width_o="5432" height_o="6819" data-src="https://freight.cargo.site/t/original/i/3efd28ca63ee252cf499a28a64ab3b81ef462da61df89f25f7f77235f8b8b9f9/HKIM064---Ho-Jae-Kim---Day-8-Laundry-List-01-1.jpg" data-mid="189918903" border="0" alt="김호재, Day 8: Laundry List, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" data-caption="김호재, &lt;i&gt;Day 8: Laundry List&lt;/i&gt;, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/3efd28ca63ee252cf499a28a64ab3b81ef462da61df89f25f7f77235f8b8b9f9/HKIM064---Ho-Jae-Kim---Day-8-Laundry-List-01-1.jpg" /> <img width="1688" height="2250" width_o="1688" height_o="2250" data-src="https://freight.cargo.site/t/original/i/f149dd097443612fdcc8c02891e4187af182ce4fbbbc21953ed1cc8ced6eda00/HJK001---A-Thought--2023-Detail.jpg" data-mid="189918895" border="0" data-scale="45" alt="김호재, A Thought, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 76.2 x 50.8 cm (30 x 20 in). Courtesy of the artist" data-caption="김호재, &lt;i&gt;A Thought&lt;/i&gt;, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 76.2 x 50.8 cm (30 x 20 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/f149dd097443612fdcc8c02891e4187af182ce4fbbbc21953ed1cc8ced6eda00/HJK001---A-Thought--2023-Detail.jpg" /> Swipe to see more images 색을 칠하기 전에 사전 밑그림을 3D 모델링 프로그램을 통해 굉장히 세밀하게 컴퓨터로 작업하는 과정을 거치는 것으로 알고 있어요. 해당 방식을 택한 이유가 무엇인가요? 3D 모델링 프로그램을 택하게 된 데에는 제가 무척 좋아하는 초기 르네상스 작가인 피에로 델라 프란체스카(Piero della Francesca)의 영향이 매우 컸어요. 컴퓨터를 통한 세밀한 작업은 마치 그가 공간의 구축이나 인물의 형상을 그려낼 때 구현한 완벽한 정확도를 저로 하여금 유사하게 실현할 수 있게 해주었죠. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/5d1149706896fd6c7a1628ef2111c7da2653b6c5f6d245fd93cc9b5ae9cf2ed6/3d-modeling.jpg" data-mid="189918883" border="0" alt="3D 모델링 프로그램 작업 중인 작가의 모습. Courtesy of the artist. Photo: Quyn Duong" data-caption="3D 모델링 프로그램 작업 중인 작가의 모습. Courtesy of the artist. Photo: Quyn Duong" src="https://freight.cargo.site/w/1000/i/5d1149706896fd6c7a1628ef2111c7da2653b6c5f6d245fd93cc9b5ae9cf2ed6/3d-modeling.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/0cd30c43c9eb0cdbd3ee0f7d0023b8a4e164cd9838cd01a66a75696fa1eecf48/IMG_9439_2-2.jpg" data-mid="189918901" border="0" alt="사전 드로잉들. 2023년 8월 뉴욕 스튜디오 방문 " data-caption="사전 드로잉들. 2023년 8월 뉴욕 스튜디오 방문 " src="https://freight.cargo.site/w/1000/i/0cd30c43c9eb0cdbd3ee0f7d0023b8a4e164cd9838cd01a66a75696fa1eecf48/IMG_9439_2-2.jpg" /> Swipe to see more images 초기작으로 시간을 거슬러 올라가 보고 싶은데요, &lt;Theater Seats&gt;(2016-2017)은 사람들이 붐비는 곳으로 연상되는 제목과 달리, 텅 빈 공간이 담긴 작업이네요. 인물이 중요한 요인으로 등장하는&nbsp; &lt;Purgatory&gt;나 &nbsp;&lt;Carousel&gt; 시리즈와는 구분되기도 하고요. 현재 작업과도 연결되는 지점이 있는 작업인가요? 이후 작업 방식에 어떠한 영향을 주었나요? &lt;Theater Seats&gt;은 학부 재학 당시 제작된 작품인데요, 3D 모델링 프로그램을 처음 시도한 작품이기도 해요. 프로그램을 통해 세밀한 공간을 구축해내는 것까지는 어느 정도 성공했는데, 그 다음에는 디지털에서 구축한 공간을 어떻게 실물화 해낼 것인가가 문제더라고요. 그 때 떠오른 방법이 바로 중세시대의 프레스코 기법입니다. 프레스코 벽화를 만들 때는 기법상 석회벽의 건조가 채 완료되지 않았을 때 빠르게 색을 칠해야 하기 때문에 상대적으로 허용되는 시간이 매우 짧아요. 그러다 보니 당시 장인들은 본인들의 스튜디오에서 실물 크기의 카툰(cartoon)* 렌더링을 제작해, 색을 덧칠하기 직전에 현장으로 가져와 카툰의 윤곽선들을 트랜스퍼(transfer)기법을 통해 벽에 옮겨낸 것으로 알고 있어요. 이러한 방식에 착안하여 이 때부터 잉크젯 트랜스퍼 기법을 사용하기 시작했습니다. 초기작업들에 나타나는 회색 톤은 트랜스퍼와 3D 모델링을 가지고 여러 실험들을 거친 것에서 기인한 결과이기도 해요. *사전 밑그림을 의미한다. <img width="5269" height="3513" width_o="5269" height_o="3513" data-src="https://freight.cargo.site/t/original/i/147428a1267c6ab69d06fe7cf0c9ac304104f162a90c89a4d47a8391f4f88f16/Hojae-Kim-2.jpg" data-mid="189918885" border="0" data-scale="83" alt="김호재, Theater Seats, 2017. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜. 183 x 244 cm (72 x 96 in). Courtesy of the artist" data-caption="김호재, &lt;i&gt;Theater Seats&lt;/i&gt;, 2017. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜. 183 x 244 cm (72 x 96 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/147428a1267c6ab69d06fe7cf0c9ac304104f162a90c89a4d47a8391f4f88f16/Hojae-Kim-2.jpg" /> <img width="2473" height="1649" width_o="2473" height_o="1649" data-src="https://freight.cargo.site/t/original/i/d52b869d278d8728e70ae350202c53ef9eca131784df913c381131dcbf6bdc67/Hojae-Kim-5.jpg" data-mid="189918886" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/d52b869d278d8728e70ae350202c53ef9eca131784df913c381131dcbf6bdc67/Hojae-Kim-5.jpg" /> Swipe to see more images 개인적으로&nbsp; &lt;Theater Seats&gt;에서 인상 깊게 본 또 다른 특징은 의자에 등장하는 그리드 패턴이에요. 이 그리드는 이후 &lt;Laundry Day&gt;(2020), &lt;Lifeboat Simulation&gt;(2020), &lt;Actor&gt;(2021), 그리고&nbsp; &lt;Day 3: Janitor&gt;(2022) 등 상당수의 작업들에서 타일과 같은 형태로 등장하는데요, 오로지 공간감을 형성하기 위한 배경적 요소로 차용한 패턴인가요? 아니면 다른 상징적인 의미가 있나요? 그리드는 ‘연옥’을 공간으로서 회화에 구현하기 위한 기하학적 요소로 선택한 이유가 커요. 그와 더불어 개인적인 이유도 있는데요, 작가로 본격적으로 활동하기 이전 오랫동안 레스토랑 매니저로 일을 했었어요. 당시 일하던 레스토랑에 화장실이 하나가 있었는데, 직업 특성상 눈코 뜰새 없이 바쁜 날이 부지기수였어요. 유일하게 온전히 혼자 휴식을 취할 수 있는 공간이 사방이 그리드 타일로 꽉 채워진 화장실이었어요. 때로는 쉼터이자 다음 근무를 위한 기다림의 공간이 되어주기도 했지만, 동시에 어디인지 모르게 폐쇄적인, 갑갑함을 야기하는 공간이기도 했어요. 그 때의 기억에서 영감을 받은 요소랍니다.&nbsp; <img width="5224" height="6574" width_o="5224" height_o="6574" data-src="https://freight.cargo.site/t/original/i/cddf7ecac90f629020a21c42546a42fc4717f1ca5a99e7d62d9acc6948846a73/HKIM059---Ho-Jae-Kim---Day-3-Janitor-01.jpg" data-mid="189918887" border="0" data-scale="51" alt="김호재, Day 3: Janitor, 2022. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" data-caption="김호재, &lt;i&gt;Day 3: Janitor&lt;/i&gt;, 2022. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 127 x 101.6 cm (50 x 40 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/cddf7ecac90f629020a21c42546a42fc4717f1ca5a99e7d62d9acc6948846a73/HKIM059---Ho-Jae-Kim---Day-3-Janitor-01.jpg" /> <img width="5792" height="8688" width_o="5792" height_o="8688" data-src="https://freight.cargo.site/t/original/i/4143caa1a73676998f32f626975e41a54d15f1340c8ac7ed59772a7e7c753703/HKIM059---Ho-Jae-Kim---Day-3-Janitor-04-1.jpg" data-mid="189918888" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/4143caa1a73676998f32f626975e41a54d15f1340c8ac7ed59772a7e7c753703/HKIM059---Ho-Jae-Kim---Day-3-Janitor-04-1.jpg" /> <img width="4026" height="5033" width_o="4026" height_o="5033" data-src="https://freight.cargo.site/t/original/i/5f08859b0d1fec8a206a58646de04284e34cebd7bdf325cc1d3a3258f874e980/HKIM077---Ho-Jae-Kim---Songs-of-the-Remaining-Days-02.jpg" data-mid="189918896" border="0" data-scale="54" alt="김호재, Songs of the Remaining Days, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 243.8 x 169 cm (96 &times; 66.5 in). Courtesy of the artist " data-caption="김호재, &lt;i&gt;Songs of the Remaining Days&lt;/i&gt;, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 243.8 x 169 cm (96 × 66.5 in). Courtesy of the artist " src="https://freight.cargo.site/w/1000/i/5f08859b0d1fec8a206a58646de04284e34cebd7bdf325cc1d3a3258f874e980/HKIM077---Ho-Jae-Kim---Songs-of-the-Remaining-Days-02.jpg" /> <img width="5792" height="8688" width_o="5792" height_o="8688" data-src="https://freight.cargo.site/t/original/i/295004a69400e030e0ac5f4ba281e05f246ec97438c6b92ccac544de960e1c75/HKIM077---Ho-Jae-Kim---Songs-of-the-Remaining-Days-06.jpg" data-mid="189918897" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/295004a69400e030e0ac5f4ba281e05f246ec97438c6b92ccac544de960e1c75/HKIM077---Ho-Jae-Kim---Songs-of-the-Remaining-Days-06.jpg" /> Swipe to see more images 회화를 통해 궁극적으로 구현하고 싶은 게 있다면 무엇인가요? 저는 자연에 있는 숭고한 순간들을 종종 떠올려요. 숭고한 순간이 무엇인가 생각해보면 자연스레 해안가에서의 일출이나 일몰, 혹은 요즘 말로 ‘불멍’이라고 하는 순간들이 환기되어요. 저는 궁극적으로 인간이 본능적으로 끌리는 순간이나 개념은 비슷하다고 생각해요. 물론 그 사람의 인종이나 자라온 문화권, 성장 배경 등에 의한 미세한 디테일은 다를 수 있어도 말이죠. 저에게는 그 순간은 주로 ‘빛’과 관련 있어요. 작업을 할 때 빛은 단순히 우리가 눈으로 보는 것 이상의 무언가를 그려낼 수 있게 도와줘요. 빛이 없다면 있는 그대로의 사물만 그려내면 될 것을, 빛을 표현하기 위해 명암을 덧 대어야 하는 것처럼 말이죠. 올해 5월, 뉴욕 하퍼스 첼시(Harper’s Chelsea)에서 개최된 ⟪Carousel⟫(2023)에서도 그걸 표현하고 싶었어요. 밤에 회전목마를 본 적이 있으세요? 회전목마에 빛이 떨어지는 양상, 장난감 말들이 회전하는 모습, 주위에서 흘러나오는 축제 음악, 이 모든 게 합쳐져서 저에게는 마치 사람이 만들어낸 노을 같은 느낌이 든다랄까요. <img width="8659" height="4191" width_o="8659" height_o="4191" data-src="https://freight.cargo.site/t/original/i/3eabfc4d67ae8cdb37e29ce05f86b498489f1835cfbc7ca0769f7a63cdb1663b/HKIM056---Ho-Jae-Kim---Carousel-01-compressed.jpg" data-mid="189918898" border="0" alt="김호재, Carousel, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 세폭화: 243.8 x 518.2 cm (96 x 204 in). Courtesy of the artist" data-caption="김호재, &lt;i&gt;Carousel&lt;/i&gt;, 2023. 캔버스에 유화, 잉크젯 트랜스퍼, 애나멜과 종이. 세폭화: 243.8 x 518.2 cm (96 x 204 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/3eabfc4d67ae8cdb37e29ce05f86b498489f1835cfbc7ca0769f7a63cdb1663b/HKIM056---Ho-Jae-Kim---Carousel-01-compressed.jpg" /> <img width="8583" height="6437" width_o="8583" height_o="6437" data-src="https://freight.cargo.site/t/original/i/0df4c55dc095f2a3efe3ed6b59ed520d7266920b423ebdedf7d60b326af5e8b1/003_-Ho-Jae-Kim---Carousel---Harpers-512.jpg" data-mid="189918904" border="0" alt="《Carousel》 전시 전경, 하퍼스 갤러리, 뉴욕, 2023. Courtesy of Harper's Gallery and the artist" data-caption="《Carousel》 전시 전경, 하퍼스 갤러리, 뉴욕, 2023. Courtesy of Harper's Gallery and the artist" src="https://freight.cargo.site/w/1000/i/0df4c55dc095f2a3efe3ed6b59ed520d7266920b423ebdedf7d60b326af5e8b1/003_-Ho-Jae-Kim---Carousel---Harpers-512.jpg" /> <img width="6924" height="5193" width_o="6924" height_o="5193" data-src="https://freight.cargo.site/t/original/i/038ac91d71dbb251d4133bfb5d4bf4cd36fa7145d72c2b2cc79c457fcedbb137/010_-Ho-Jae-Kim---Carousel---Harpers-512.jpg" data-mid="189918905" border="0" alt="《Carousel》 전시 전경, 하퍼스 갤러리, 뉴욕, 2023. Courtesy of Harper's Gallery and the artist" data-caption="《Carousel》 전시 전경, 하퍼스 갤러리, 뉴욕, 2023. Courtesy of Harper's Gallery and the artist" src="https://freight.cargo.site/w/1000/i/038ac91d71dbb251d4133bfb5d4bf4cd36fa7145d72c2b2cc79c457fcedbb137/010_-Ho-Jae-Kim---Carousel---Harpers-512.jpg" /> Swipe to see more images 작가님이 포착하고자 하는 숭고의 감정이 추상적인 개념인 점에 반해 작가님의 화면에는 굉장히 구체적인 공간과 인물들이 등장을 해요. 추상적인 개념을 표현하기 위해 소위 말하는 직관과 감각에 의한 제스처보다는 구체적인 형상을 택하시는 이유가 있으신가요? 제가 생각하는 시각예술의 효용성(utility)은 가독성(legibility)과 접근성으로 연결돼요. 연옥이라는 동서고금을 막론하고 모두가 알아볼 수 있는 보편적인 주제를 택한 것도 비슷한 이유라고 할 수 있겠고요. 작가로서의 제 능력은 제가 표현하려는 것을 얼마나 시각적으로 알아 볼 수 있게 그려내느냐와 직결된다고 느껴요. 만약 제가 그린 사물이나 인물을 보는 이가 경비원, 차, 허수아비 등의 특정 대상으로 인식할 수 있다면 그것만으로도 저에게는 일종의 성공이에요. 무엇을 그리느냐에만 치중하기보다 어디에 얼마 만큼의 정확도로 대상을 위치시킬 것인가에 많은 시간을 할애하는 점도 그 때문이죠. 시각적으로 식별 가능한 대상이 회화 속 공간에서 인지 가능한 곳에 위치하게 된다면, 그 대상들 간의 관계도 더 뚜렷해지고, 관람자에게는 그림 속 상황을 더 잘 읽어낼 수 있게 해주니까요. 이처럼 보는 이가 그림 속의 상황에 대한 완전한 이해가 가능해졌을 때 비로소 작품과의 심층적인 대화가 가능해진다고 믿어요. 김호재의 더 많은 작업은 9월 1일부터 9일까지 송원아트센터에서 열리는 단체전 ⟪Briefly Gorgeous⟫를 통해 만나볼 수 있다. 자세한 정보는 다음 홈페이지에서 확인할 수 있다: https://www.phillips.com/store/briefly-gorgeous&nbsp; ©&nbsp; 2023 Radar https://radarseoul.com/Heaven-Baek Thu, 07 Sep 2023 20:52:15 +0000 Radar https://radarseoul.com/Heaven-Baek Heaven Baek (b. 1984) “Situations” EN/KO Released on 8 Sep 2023Featured in ep. 1 ︎ HEAVEN BAEK’s artistic practice explores how individuals within a particular society come together to form groups or collectives, navigating the unfolding of everyday situations. She takes on the role of an impartial observer, recording and reflecting on society through her lens and installations. Baek believes that people create a beautiful trajectory as they navigate the social systems that constrain them, leveraging their innate ability to overcome these challenges. Her works have been showcased in various exhibitions, including d/p, Seoul (2022), Galerie Ursula Walter (2022), Sejong Art Center (2019), and the 12th Gwangju Biennale (2018). She is currently based in Seoul and Berlin. <img width="3436" height="1926" width_o="3436" height_o="1926" data-src="https://freight.cargo.site/t/original/i/fae84a9423a00649456af3fd59b79325c50342974db86add13a6aa61fdef488d/Copy-of-7.png" data-mid="190106257" border="0" alt="Heaven Baek, Lake Scratchers, 2015. Single channel FHD video. 6 min. Courtesy of the artist " data-caption="Heaven Baek, &lt;i&gt;Lake Scratchers&lt;/i&gt;, 2015. Single channel FHD video. 6 min. Courtesy of the artist " src="https://freight.cargo.site/w/1000/i/fae84a9423a00649456af3fd59b79325c50342974db86add13a6aa61fdef488d/Copy-of-7.png" /> <img width="5594" height="3730" width_o="5594" height_o="3730" data-src="https://freight.cargo.site/t/original/i/7121df464932e6e35b0142edc8d2567e64d78770766dd2bb5506cb878a620fc6/Copy-of-hv_073.jpg" data-mid="190180192" border="0" alt="Heaven Baek, Lake Scratchers, 2015. Single channel FHD video. 6 min. Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;Lake Scratchers&lt;/i&gt;, 2015. Single channel FHD video. 6 min. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/7121df464932e6e35b0142edc8d2567e64d78770766dd2bb5506cb878a620fc6/Copy-of-hv_073.jpg" /> <img width="998" height="560" width_o="998" height_o="560" data-src="https://freight.cargo.site/t/original/i/b45c0f2d108dbbde2fd18053ac802cb1f547c2885b0771af8efeed452cb6a3d2/capture002.png" data-mid="190106857" border="0" alt="Heaven Baek, Lake Scratchers, 2015. Single channel FHD video. 6 min. Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;Lake Scratchers&lt;/i&gt;, 2015. Single channel FHD video. 6 min. Courtesy of the artist" src="https://freight.cargo.site/w/998/i/b45c0f2d108dbbde2fd18053ac802cb1f547c2885b0771af8efeed452cb6a3d2/capture002.png" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/bf99af92f2b48f59373bfccad5fe78ef71e4103282b58c84758aba507654a21a/Copy-of-hws_145_.jpg" data-mid="190179153" border="0" alt="Heaven Baek, Lake Scratchers, 2015. Single channel FHD video. 6 min. Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;Lake Scratchers&lt;/i&gt;, 2015. Single channel FHD video. 6 min. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/bf99af92f2b48f59373bfccad5fe78ef71e4103282b58c84758aba507654a21a/Copy-of-hws_145_.jpg" /> <img width="5626" height="3751" width_o="5626" height_o="3751" data-src="https://freight.cargo.site/t/original/i/96658b74a165575f8464f6dd1f15d41d4c27b07b4c372d4503ae8aa8a45a00c3/Copy-of-hws_117.jpg" data-mid="190179157" border="0" alt="Heaven Baek, Lake Scratchers, 2015. Single channel FHD video. 6 min. Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;Lake Scratchers&lt;/i&gt;, 2015. Single channel FHD video. 6 min. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/96658b74a165575f8464f6dd1f15d41d4c27b07b4c372d4503ae8aa8a45a00c3/Copy-of-hws_117.jpg" /> Swipe to see more images I heard you’ve recently relocated. Yes, I moved to Germany a few years ago and specifically to Berlin this summer. The region I previously lived in had relatively less racial diversity, which was sometimes frustrating. As Berlin is quite an international place, everything has been going well so far. You completed your undergraduate studies in Melbourne, Australia, and then continued your studies in Glasgow, UK. Were there any specific reasons behind your choice of countries? The reason I went to Melbourne was quite practical, as was my choice of medium, which is video. Initially, I enrolled in my undergraduate program with a major in photography. However, as I progressed, the cost of printing and camera equipment became too much to afford as a student. This naturally led me to gravitate more toward video, a medium that allowed for repeated usages without these financial constraints. Additionally, I found the lectures and coursework about the medium to be highly engaging. During my graduate studies, I explored video, non-linear audio, and installation works altogether. The editing and subject-finding methods I utilize today have been heavily influenced by those years at school. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <img width="3160" height="2116" width_o="3160" height_o="2116" data-src="https://freight.cargo.site/t/original/i/605dd763d94db0566d8aa6ca6d84bf132e5b08acb6e301ec2502dee8326c3044/Copy-of-apoptosis1.jpg" data-mid="190106719" border="0" data-scale="86" alt="Heaven Baek, Apoptosis, 2015. Craft materials, deconstructed objects. Dimensions variable. Installation view at ARARIO MUSEUM TOPDONG BIKESHOP, Jeju, Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;Apoptosis&lt;/i&gt;, 2015. Craft materials, deconstructed objects. Dimensions variable. Installation view at ARARIO MUSEUM TOPDONG BIKESHOP, Jeju, Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/605dd763d94db0566d8aa6ca6d84bf132e5b08acb6e301ec2502dee8326c3044/Copy-of-apoptosis1.jpg" /> <img width="1500" height="1125" width_o="1500" height_o="1125" data-src="https://freight.cargo.site/t/original/i/266a0445f296b660ef97f36162f6d07220402c36155aa0bf59a5850b36cb24d9/Copy-of-apoptosis_10.jpg" data-mid="190106705" border="0" data-scale="82" alt="Heaven Baek, Apoptosis, 2015. Craft materials, deconstructed objects. Dimensions variable. Installation view at ARARIO MUSEUM TOPDONG BIKESHOP, Jeju, Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;Apoptosis&lt;/i&gt;, 2015. Craft materials, deconstructed objects. Dimensions variable. Installation view at ARARIO MUSEUM TOPDONG BIKESHOP, Jeju, Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/266a0445f296b660ef97f36162f6d07220402c36155aa0bf59a5850b36cb24d9/Copy-of-apoptosis_10.jpg" /> <img width="1500" height="1125" width_o="1500" height_o="1125" data-src="https://freight.cargo.site/t/original/i/8bb7307fe7a8518dac0ee331b32f565679a0c332ba3c29aeca2827619ec9a1a0/Copy-of-apoptosis_14.jpg" data-mid="190106718" border="0" alt="Heaven Baek, Apoptosis, 2015. Craft materials, deconstructed objects. Dimensions variable. Installation view at ARARIO MUSEUM TOPDONG BIKESHOP, Jeju, Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;Apoptosis&lt;/i&gt;, 2015. Craft materials, deconstructed objects. Dimensions variable. Installation view at ARARIO MUSEUM TOPDONG BIKESHOP, Jeju, Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/8bb7307fe7a8518dac0ee331b32f565679a0c332ba3c29aeca2827619ec9a1a0/Copy-of-apoptosis_14.jpg" /> Swipe to see more images In previous interviews, I noticed that you mentioned your interest in 'individuals, people, and their situations.' Considering your experiences with multiple cultures, do you find yourself more drawn to the differences among people and their situations based on their respective cultures, or are you inclined towards exploring the general, universal traits that people share across borders? One thing I strongly realized after studying abroad and participating in artist residency programs around the world is that, as a foreigner, I could never truly become part of the majority or mainstream society. This realization left me with ample time to observe the various groups within a society from a third-person perspective. Instead of attempting to assimilate into these groups, I chose to actively listen to their situations and the internal narratives that defined each group. Drawing from these stories, I sought to function as a social mirror for that particular society or collective, one that reflects and reproduces their narratives. I was careful not to introduce any further distortions through my lens, as it was already filtered through the primary layer of the camera. I guess I can say that I'm interested in exploring both the potential and the method of presenting the world I observe to others without intentional alterations. <img width="4000" height="2963" width_o="4000" height_o="2963" data-src="https://freight.cargo.site/t/original/i/03a533bbea731153a9c977be4e2ae76af3f56c088e2190163743b23256061526/Copy-of-2seongbuk_hb_sm_print.jpg" data-mid="190179834" border="0" alt="Heaven Baek, Seongbuk District Seongbuk Resident, 2014. Single channel FHD video. 20 min 23 sec. Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;Seongbuk District Seongbuk Resident&lt;/i&gt;, 2014. Single channel FHD video. 20 min 23 sec. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/03a533bbea731153a9c977be4e2ae76af3f56c088e2190163743b23256061526/Copy-of-2seongbuk_hb_sm_print.jpg" /> <img width="1888" height="1062" width_o="1888" height_o="1062" data-src="https://freight.cargo.site/t/original/i/a45199519f5d8d47ca0b55046835585b7c6f0376645120d15b8ced87d1f52d66/Copy-of-sb2.jpg" data-mid="190106751" border="0" alt="Heaven Baek, Seongbuk District Seongbuk Resident , 2014. Single channel FHD video. 20 min 23 sec. Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;Seongbuk District Seongbuk Resident &lt;/i&gt;, 2014. Single channel FHD video. 20 min 23 sec. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/a45199519f5d8d47ca0b55046835585b7c6f0376645120d15b8ced87d1f52d66/Copy-of-sb2.jpg" /> <img width="4000" height="2672" width_o="4000" height_o="2672" data-src="https://freight.cargo.site/t/original/i/67d970fdb279b6c364cac85cf979e8a724ee5874b53f8764c196d2071d3a5fa5/Copy-of-heavenbaek.JPG" data-mid="190106752" border="0" alt="Heaven Baek, Seongbuk District Seongbuk Resident , 2014. Single channel FHD video. 20 min 23 sec. Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;Seongbuk District Seongbuk Resident &lt;/i&gt;, 2014. Single channel FHD video. 20 min 23 sec. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/67d970fdb279b6c364cac85cf979e8a724ee5874b53f8764c196d2071d3a5fa5/Copy-of-heavenbaek.JPG" /> Swipe to see more images I like the idea of choosing to be an observer rather than attempting to actively participate in a group. When you encounter new groups or people, what elements or strategies do you find most helpful in facilitating your observation process? Time. When I encounter a new group of people, I spend extended periods in or near their presence. It's like the feeling you have when you first notice a surveillance camera—initial discomfort, but as time passes, you become accustomed to its presence, and it blends into the background. When I embark on a new project, I aim to stay in that environment for as long as possible. While I do keep diaries and take notes, these are secondary to me. The most effective approach, in my experience, is immersing oneself in the situation you're trying to understand and relying on the passage of time. <img width="2690" height="2016" width_o="2690" height_o="2016" data-src="https://freight.cargo.site/t/original/i/1433d81778c03211c3eb108cbc2a71d508843f6b74356239be3b73b4b947f0f8/Copy-of-4.png" data-mid="190106791" border="0" alt="Heaven Baek, in the middle of the, 2012. Single channel SD video (8mm transferred to SD digital). 16 min 42 sec. Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;in the middle of the&lt;/i&gt;, 2012. Single channel SD video (8mm transferred to SD digital). 16 min 42 sec. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/1433d81778c03211c3eb108cbc2a71d508843f6b74356239be3b73b4b947f0f8/Copy-of-4.png" /> <img width="2700" height="1998" width_o="2700" height_o="1998" data-src="https://freight.cargo.site/t/original/i/023187f344b2c580495d738b1e38d96d313bede1ffd6c01d3fd813588296b8c0/Copy-of-13.png" data-mid="190106813" border="0" alt="Heaven Baek, in the middle of the, 2012. Single channel SD video (8mm transferred to SD digital). 16 min 42 sec. Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;in the middle of the&lt;/i&gt;, 2012. Single channel SD video (8mm transferred to SD digital). 16 min 42 sec. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/023187f344b2c580495d738b1e38d96d313bede1ffd6c01d3fd813588296b8c0/Copy-of-13.png" /> <img width="2694" height="2008" width_o="2694" height_o="2008" data-src="https://freight.cargo.site/t/original/i/0f9961fa1f45099b559887e6fd986cb1eb13638a647d1f9d5ec00681d3ca1c49/Copy-of-16.png" data-mid="190106810" border="0" alt="Heaven Baek, in the middle of the, 2012. Single channel SD video (8mm transferred to SD digital). 16 min 42 sec. Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;in the middle of the&lt;/i&gt;, 2012. Single channel SD video (8mm transferred to SD digital). 16 min 42 sec. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/0f9961fa1f45099b559887e6fd986cb1eb13638a647d1f9d5ec00681d3ca1c49/Copy-of-16.png" /> Swipe to see more images It appears that the degree to which chance elements influence your work varies from piece to piece. For example, The Agency (2011) and in the middle of the (2012) are largely unscripted, whereas Our Lady Vengeance (2013) and Seongbuk District Seongbuk Resident (2020) seem to involve more carefully planned scripts and guidelines. 'Our Lady Vengeance' in particular surprised me when I learned it was scripted. Could you provide more insight into your creative process? I frequently encounter the perception that my works are entirely unscripted, despite the fact that a significant portion of them undergo pre-production and scripting. I believe this might be due to my approach, which I describe as 'staged reality.' <img width="3442" height="1918" width_o="3442" height_o="1918" data-src="https://freight.cargo.site/t/original/i/d60b7a8cb34852e5dbb96491afd26e94de2ebb5ba50251b64f43a7581b528321/Copy-of-01winter.png" data-mid="190106833" border="0" alt="Heaven Baek, Our Lady Vengeance (Spring), 2013. Single channel film. 12 min 44 sec. Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;Our Lady Vengeance&lt;/i&gt; (Spring), 2013. Single channel film. 12 min 44 sec. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/d60b7a8cb34852e5dbb96491afd26e94de2ebb5ba50251b64f43a7581b528321/Copy-of-01winter.png" /> <img width="1186" height="666" width_o="1186" height_o="666" data-src="https://freight.cargo.site/t/original/i/b8b033872c78a526e7fb519467813e6fe5960118221249723ca7ad29b3a1cbef/Copy-of-01summer.jpg" data-mid="190106830" border="0" alt="Heaven Baek, Our Lady Vengeance (Summer), 2013. Single channel film. 12 min 44 sec. Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;Our Lady Vengeance&lt;/i&gt; (Summer), 2013. Single channel film. 12 min 44 sec. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/b8b033872c78a526e7fb519467813e6fe5960118221249723ca7ad29b3a1cbef/Copy-of-01summer.jpg" /> <img width="3436" height="1926" width_o="3436" height_o="1926" data-src="https://freight.cargo.site/t/original/i/813fabd82f0ddb22d31bd4e7274262bfe71056ab16003cec67c0ec6787834519/Copy-of-01autumn.png" data-mid="190106831" border="0" alt="Heaven Baek, Our Lady Vengeance (Autumn), 2013. Single channel film. 12 min 44 sec. Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;Our Lady Vengeance&lt;/i&gt; (Autumn), 2013. Single channel film. 12 min 44 sec. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/813fabd82f0ddb22d31bd4e7274262bfe71056ab16003cec67c0ec6787834519/Copy-of-01autumn.png" /> <img width="3442" height="1918" width_o="3442" height_o="1918" data-src="https://freight.cargo.site/t/original/i/9c4189fa27369e8ea03f699c180f3e6cefa17495f34766dbb0888e85c10387f5/Copy-of-01winter.png" data-mid="190179944" border="0" alt="Heaven Baek, Our Lady Vengeance (Winter), 2013. Single channel film. 12 min 44 sec. Courtesy of the artist" data-caption="Heaven Baek, &lt;i&gt;Our Lady Vengeance&lt;/i&gt; (Winter), 2013. Single channel film. 12 min 44 sec. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/9c4189fa27369e8ea03f699c180f3e6cefa17495f34766dbb0888e85c10387f5/Copy-of-01winter.png" /> Swipe to see more images Our Lady Vengeance was filmed in an area where a scene from Park Chan-wook's film 'Lady Vengeance' (2005) was shot. I spent two years interviewing neighbors who lived in the vicinity, asking about their memories of when the movie was filmed there. Interestingly, over the course of those two years, their responses gradually evolved. What they initially described as 'A' might transform into 'A+' the next day, influenced by others' accounts, agreements, or denials. Parts of their memories tended to become either exaggerated or blurred. It was as if the entire area was collectively reshaping its recollection of the past. I aimed to express this shifting nature of memory through the progression of four different seasons, with the core remaining constant while the seasons and people's memories change. Seongbuk District Seongbuk Resident followed a similar process, relying on oral interviews with local neighbors. I gathered and recorded their stories, translated them into visual imagery, and created an objective representation. Both projects revolve around the accumulation and ever-evolving nature of memory. Perhaps it's because your work always starts and ends with a human being – I often feel that your work consistently touches upon our everyday lives. Are there any particular things you bear in mind when dealing with people in your work? While studying the concept of interaction in a media class, I found myself questioning the essence of the 'human' element in art. To me, the concept of interaction extends beyond merely having the work activated by someone. It primarily involves the viewer's ability to connect, mirror, and empathize with the work, its context, and the figures depicted in the film, whether on a physical or emotional level. I always strive to keep this in mind when creating a piece. <img width="9929" height="1885" width_o="9929" height_o="1885" data-src="https://freight.cargo.site/t/original/i/aa99b5a025e3c52f048de7fd8f81eaec10757d16a0bfdb83d710ef00b159162b/Copy-of-event_horizon_3screen.jpg" data-mid="190106844" border="0" alt="Haeven Baek, Event Horizon, 2019. Five channel 4K video. 4 min 29 sec. Courtesy of the artist" data-caption="Haeven Baek, &lt;i&gt;Event Horizon&lt;/i&gt;, 2019. Five channel 4K video. 4 min 29 sec. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/aa99b5a025e3c52f048de7fd8f81eaec10757d16a0bfdb83d710ef00b159162b/Copy-of-event_horizon_3screen.jpg" /> Could you please briefly introduce your works that will be featured in Frieze Film at MOTHER Offline? For this year's Frieze Film, I will be screening two works: Our Lady Vengeance and Event Horizon (2019). Our Lady Vengeance, previously presented with a documentary showing the overall storyline, will be featured solely as a movie for the first time. It’s an attempt to highlight its narrative aspect. Event Horizon is a five-channel video where I explore the concept of a black hole state where no new information can enter or exit. Performers on each screen are positioned as if they have their backs against each other and repeatedly discuss ideas like 'realism' and 'the present.' The work was initially inspired by the autobiography of Kim Geun-tae (1947-2011), a democracy activist and politician, who was described as a 'realist' in the book. This led me to contemplate the concept of temporality for a realist. Ultimately, I concluded that the process of constructing a society and carrying on with our lives creates an infinite, linear vacuum state where no new information can enter or exit, albeit sounding somewhat dystopian. I'm excited to share these works with a broader audience through this screening. Heaven Baek’s Our Lady Vengeance (2013) and Event Horizon (2019) will be on screening throughout Freize Film Seoul at MOTHER Offline till Sep 9, 2023. For more information, please visit:&nbsp;https://www.frieze.com/frieze-film/mother-offline©&nbsp; 2023 Radar https://radarseoul.com/Heaven-Baek-KOR Fri, 08 Sep 2023 04:51:39 +0000 Radar https://radarseoul.com/Heaven-Baek-KOR 백 현 주 (b. 1984) “그들의 사정” EN/KO Released on 8 Sep 2023Featured in ep. 1 ︎ 백현주의 작업은 사회 속 개인들이 집단을 형성하고 그 안에서 생기는 사정들을 해결해 나가는 과정에 주목한다. 그는 주로 영상과 설치 작업을 통해 객관적인 관찰자로서 마주하는 광경들을 기록하고 왜곡없이 비춰주는 거울의 역할을 자처한다. 인간이란 그에게 사회적 규범이라는 한계 속에서 살아가는 존재이면서도 동시에 그 규약을 뛰어넘을 힘이 내재된 존재로, 부딪힘과 다듬어짐을 반복해가는 아름다운 존재이다. 그의 작업은 서울 d/p (2022); 우르술라 발터 갤러리 (2022); 세종 예술의전당 (2019); 그리고 제12회 광주 비엔날레를 통해 공개 된 바 있다.&nbsp; <img width="3436" height="1926" width_o="3436" height_o="1926" data-src="https://freight.cargo.site/t/original/i/fae84a9423a00649456af3fd59b79325c50342974db86add13a6aa61fdef488d/Copy-of-7.png" data-mid="190107213" border="0" alt="백현주, 호수 긁는 사람들, 2015. 단채널 FHD 비디오, 6분. Courtesy of the artist" data-caption="백현주, &lt;i&gt;호수 긁는 사람들&lt;/i&gt;, 2015. 단채널 FHD 비디오, 6분. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/fae84a9423a00649456af3fd59b79325c50342974db86add13a6aa61fdef488d/Copy-of-7.png" /> <img width="5594" height="3730" width_o="5594" height_o="3730" data-src="https://freight.cargo.site/t/original/i/9274c692ee129c1cc1699e895f4ddc171cbd357225bcd2fbd65f9a18190a4a12/Copy-of-hv_073.jpg" data-mid="190158120" border="0" alt="백현주, 호수 긁는 사람들, 2015. 단채널 FHD 비디오, 6분. Courtesy of the artist" data-caption="백현주, &lt;i&gt;호수 긁는 사람들&lt;/i&gt;, 2015. 단채널 FHD 비디오, 6분. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/9274c692ee129c1cc1699e895f4ddc171cbd357225bcd2fbd65f9a18190a4a12/Copy-of-hv_073.jpg" /> <img width="998" height="560" width_o="998" height_o="560" data-src="https://freight.cargo.site/t/original/i/b45c0f2d108dbbde2fd18053ac802cb1f547c2885b0771af8efeed452cb6a3d2/capture002.png" data-mid="190107247" border="0" alt="백현주, 호수 긁는 사람들, 2015. 단채널 FHD 비디오, 6분. Courtesy of the artist" data-caption="백현주, &lt;i&gt;호수 긁는 사람들&lt;/i&gt;, 2015. 단채널 FHD 비디오, 6분. Courtesy of the artist" src="https://freight.cargo.site/w/998/i/b45c0f2d108dbbde2fd18053ac802cb1f547c2885b0771af8efeed452cb6a3d2/capture002.png" /> <img width="5626" height="3751" width_o="5626" height_o="3751" data-src="https://freight.cargo.site/t/original/i/20ed693ca9e446d2a0d7296f5713d5e352902575881e2aca7962c6d1bc568fda/Copy-of-hws_117.jpg" data-mid="190180044" border="0" alt="백현주, 호수 긁는 사람들, 2015. 단채널 FHD 비디오, 6분. Courtesy of the artist" data-caption="백현주, &lt;i&gt;호수 긁는 사람들&lt;/i&gt;, 2015. 단채널 FHD 비디오, 6분. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/20ed693ca9e446d2a0d7296f5713d5e352902575881e2aca7962c6d1bc568fda/Copy-of-hws_117.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/fcbb5e360e65446eabf9875f64f4bfd7437426f74dc486f2865b411631f2e252/Copy-of-hws_145_.jpg" data-mid="190107248" border="0" alt="백현주, 호수 긁는 사람들, 2015. 단채널 FHD 비디오, 6분. Courtesy of the artist Courtesy of the artist" data-caption="백현주, &lt;i&gt;호수 긁는 사람들&lt;/i&gt;, 2015. 단채널 FHD 비디오, 6분. Courtesy of the artist Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/fcbb5e360e65446eabf9875f64f4bfd7437426f74dc486f2865b411631f2e252/Copy-of-hws_145_.jpg" /> Swipe to see more images 최근 해외로 거처로 옮기셨다고 들었는데, 어디에 머물고 계신가요? 현재 독일에서 지내는 중이에요. 그 간 지냈던 지역은 상대적으로 인종의 다양성이 덜해서 조금 답답한 감이 있었는데 베를린은 또 다른 부분이 있어 아직까진 만족하며 이곳을 기반으로 활동하고 있습니다. 호주에서 미디어 아트로 학부 졸업 후 스코틀랜드의 글래스고에서 대학원을 진학한 것으로 알고 있어요. 호주를 택하게 된 특별한 사유가 있으셨나요? 처음 호주로 가게 된 것도, 영상이라는 매체를 택하게 된 것도 지극히 단순한 이유였어요. 학부는 사실 사진 전공으로 입학했는데, 작업을 하다 보니 인쇄 비용과 카메라가 너무 비싸 자연스레 반복적으로 사용할 수 있는 비디오를 선택하게 되었어요. 무엇보다 비디오 수업이 재미있었고요. 대학원 때는 비디오와 비선형적(non-linear)인 사운드나 설치 작업을 함께 했어요. 현재의 편집하는 방식이나 소재를 찾는 방식 모두 학부와 대학원 시절의 영향을 많이 받았다고 할 수 있습니다. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <img width="3160" height="2116" width_o="3160" height_o="2116" data-src="https://freight.cargo.site/t/original/i/605dd763d94db0566d8aa6ca6d84bf132e5b08acb6e301ec2502dee8326c3044/Copy-of-apoptosis1.jpg" data-mid="190107229" border="0" data-scale="86" alt="백현주, 세포자살, 2015. 공작용 재료, 해체되거나 버려진 구조물 등. 가변 크기. 제주 아라리오 미술관 탑동 바이크샵 전시 전경. Courtesy of the artist" data-caption="백현주, &lt;i&gt;세포자살&lt;/i&gt;, 2015. 공작용 재료, 해체되거나 버려진 구조물 등. 가변 크기. 제주 아라리오 미술관 탑동 바이크샵 전시 전경. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/605dd763d94db0566d8aa6ca6d84bf132e5b08acb6e301ec2502dee8326c3044/Copy-of-apoptosis1.jpg" /> <img width="1500" height="1125" width_o="1500" height_o="1125" data-src="https://freight.cargo.site/t/original/i/266a0445f296b660ef97f36162f6d07220402c36155aa0bf59a5850b36cb24d9/Copy-of-apoptosis_10.jpg" data-mid="190107227" border="0" data-scale="82" alt="백현주, 세포자살, 2015. 공작용 재료, 해체되거나 버려진 구조물 등. 가변 크기. 제주 아라리오 미술관 탑동 바이크샵 전시 전경. Courtesy of the artist" data-caption="백현주, &lt;i&gt;세포자살&lt;/i&gt;, 2015. 공작용 재료, 해체되거나 버려진 구조물 등. 가변 크기. 제주 아라리오 미술관 탑동 바이크샵 전시 전경. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/266a0445f296b660ef97f36162f6d07220402c36155aa0bf59a5850b36cb24d9/Copy-of-apoptosis_10.jpg" /> <img width="1500" height="1125" width_o="1500" height_o="1125" data-src="https://freight.cargo.site/t/original/i/8bb7307fe7a8518dac0ee331b32f565679a0c332ba3c29aeca2827619ec9a1a0/Copy-of-apoptosis_14.jpg" data-mid="190107228" border="0" alt="백현주, 세포자살, 2015. 공작용 재료, 해체되거나 버려진 구조물 등. 가변 크기. 제주 아라리오 미술관 탑동 바이크샵 전시 전경. Courtesy of the artist" data-caption="백현주, &lt;i&gt;세포자살&lt;/i&gt;, 2015. 공작용 재료, 해체되거나 버려진 구조물 등. 가변 크기. 제주 아라리오 미술관 탑동 바이크샵 전시 전경. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/8bb7307fe7a8518dac0ee331b32f565679a0c332ba3c29aeca2827619ec9a1a0/Copy-of-apoptosis_14.jpg" /> Swipe to see more images 작가님께서 ‘사람과 사람들, 그리고 그들의 사정’에 관심이 있다고 말씀하신 걸 언젠가 다른 매체에서 본 적이 있어요. 학업 뿐만 아니라 레지던시 관련해서도 다양한 문화권을 경험하셨던 것으로 알고 있는데요, 국가, 혹은 문화권마다 사람들과 그들의 사정 간에 큰 차이가 있다고 느끼셨나요? 아니면 국경을 초월한 인간의 보편적인 모습에 더 관심을 가지셨나요? 학교를 졸업하고 해외의 다양한 레지던시를 경험하며 제가 그 사회의 주류가 될 수 없는 타자라는 점을 많이 느꼈어요. 기존 사회에서 꾸려진 집단들을 제3자의 시선에서 관찰하는 시간들이 많았던 거죠. 그러다 보니 자연스레 그 사회에서 집단을 형성하는 사람들의 사정과 그 내부 이야기에 (들어가려 하기보다) 귀 기울이려 했고, 그렇게 수집한 이야기들을 내가 하나의 거울이 되어 반사 및 재생산하는 역할을 궁극적으로 하고 싶었어요. 이미 저에게는 카메라 렌즈라는 어쩔 수 없는 물리적인 왜곡이 덧대어진 상황이다 보니 가능한 그 이외의 (집단에 대한) 왜곡이나 굴곡을 없애려고 노력했습니다. 다시 말해, 제가 놓여진 상황 속에서 최대한 왜곡없이 다른 이들에게 제가 바라보는 사회를 보여줄 수 있을지에 대해 관심이 많다고 할 수 있겠죠. <img width="4000" height="2963" width_o="4000" height_o="2963" data-src="https://freight.cargo.site/t/original/i/85b7d499b4a61ba201c6e747cdb3e64c0d1133fbfbf08baa690876b995f42ca3/Copy-of-2seongbuk_hb_sm_print.jpg" data-mid="190158156" border="0" alt="백현주, 성북구 성북동, 2014. 단채널 FHD 비디오. 20분 23초. Courtesy of the artist" data-caption="백현주, &lt;i&gt;성북구 성북동&lt;/i&gt;, 2014. 단채널 FHD 비디오. 20분 23초. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/85b7d499b4a61ba201c6e747cdb3e64c0d1133fbfbf08baa690876b995f42ca3/Copy-of-2seongbuk_hb_sm_print.jpg" /> <img width="1888" height="1062" width_o="1888" height_o="1062" data-src="https://freight.cargo.site/t/original/i/a45199519f5d8d47ca0b55046835585b7c6f0376645120d15b8ced87d1f52d66/Copy-of-sb2.jpg" data-mid="190107231" border="0" alt="백현주, 성북구 성북동, 2014. 단채널 FHD 비디오. 20분 23초. Courtesy of the artist" data-caption="백현주, &lt;i&gt;성북구 성북동&lt;/i&gt;, 2014. 단채널 FHD 비디오. 20분 23초. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/a45199519f5d8d47ca0b55046835585b7c6f0376645120d15b8ced87d1f52d66/Copy-of-sb2.jpg" /> <img width="4000" height="2672" width_o="4000" height_o="2672" data-src="https://freight.cargo.site/t/original/i/67d970fdb279b6c364cac85cf979e8a724ee5874b53f8764c196d2071d3a5fa5/Copy-of-heavenbaek.JPG" data-mid="190107232" border="0" alt="백현주, 성북구 성북동, 2014. 단채널 FHD 비디오. 20분 23초. Courtesy of the artist" data-caption="백현주, &lt;i&gt;성북구 성북동&lt;/i&gt;, 2014. 단채널 FHD 비디오. 20분 23초. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/67d970fdb279b6c364cac85cf979e8a724ee5874b53f8764c196d2071d3a5fa5/Copy-of-heavenbaek.JPG" /> Swipe to see more images 집단에 개입하기 보다는 타자로서의 입장을 받아들이고 관찰을 하려 한다는 점이 인상적이네요. 새로운 집단을 마주하게 될 때마다 관찰을 용이하게 하는 요인이 있나요? 시간이요. 새로운 집단과 연이 닿으면 시간을 두고 오랫동안 한 곳에 앉아있어요. 마치 처음에는 사람들이 의식하지만 어느 순간부터 늘 그곳에 있는 게 당연하게 여겨지는 존재인 감시카메라처럼 말이에요. 작업을 처음 시작하게 되면 그 곳에 오래도록 머물려고 해요. 일기를 적거나 글을 쓰기도 하지만 그런 것들은 부차적이고, 가장 효과적인 방법은 제가 관찰하고자 하는 사회나 상황 속에 내 자신이 편해질 때까지 머물며 시간에 많이 기대는 것입니다. <img width="2700" height="1998" width_o="2700" height_o="1998" data-src="https://freight.cargo.site/t/original/i/023187f344b2c580495d738b1e38d96d313bede1ffd6c01d3fd813588296b8c0/Copy-of-13.png" data-mid="190107238" border="0" data-scale="88" alt="백현주, 중간에 그, 2012. 단채널 SD 비디오(8mm를 SD 디지털로 변환). 16분 42초. Courtesy of the artist" data-caption="백현주, &lt;i&gt;중간에 그&lt;/i&gt;, 2012. 단채널 SD 비디오(8mm를 SD 디지털로 변환). 16분 42초. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/023187f344b2c580495d738b1e38d96d313bede1ffd6c01d3fd813588296b8c0/Copy-of-13.png" /> <img width="2694" height="2008" width_o="2694" height_o="2008" data-src="https://freight.cargo.site/t/original/i/0f9961fa1f45099b559887e6fd986cb1eb13638a647d1f9d5ec00681d3ca1c49/Copy-of-16.png" data-mid="190107237" border="0" alt="백현주, 중간에 그, 2012. 단채널 SD 비디오(8mm를 SD 디지털로 변환). 16분 42초. Courtesy of the artist" data-caption="백현주, &lt;i&gt;중간에 그&lt;/i&gt;, 2012. 단채널 SD 비디오(8mm를 SD 디지털로 변환). 16분 42초. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/0f9961fa1f45099b559887e6fd986cb1eb13638a647d1f9d5ec00681d3ca1c49/Copy-of-16.png" /> Swipe to see more images 작업에 따라 우연성이 개입하는 정도가 달라지는 듯해요.&nbsp; 흥신소를 직접 마련하여 운영하셨던 프로젝트인 &lt;흥신소&gt;(2011)나 승선 레지던시 기간 동안 항해하는 배에서의 일상을 담은 &lt;중간에 그&gt;(2012)는 현실의 모습을 그대로 담는 듯한 느낌이에요. 반면, &lt;성북구 성북동&gt;(2020)과 &lt;친절한 영자씨&gt;(2013)는 보다 세밀한 사전 계획과 대본을 염두에 두고 진행된 것으로 보여요. 특히 &lt;친절한 영자씨&gt;는 스크립트가 있음에도 불구하고 다큐멘터리인지 헷갈릴 정도로 자연스럽게 화면에 등장해 인상적이었어요. 작업과정 등에 있어 조금 더 설명해주실 수 있나요? 많은 사람들이 종종 (자연스럽다는) 그런 이야기를 해요. 그런데 제 작업은 대부분 스크립트 뿐만 아니라 사전 제작 단계도 거치는 작업인 걸요. 그럼에도 불구하고 자연스러움이 부각되는 이유는 제가 작업을 접근할 때 저의 작업이, 혹은 영상이라는 일종의 무대(stage)가 현실을 어떻게 보여주는지에 초점을 맞춰서 그런 게 아닐까 생각해요. 일종의 ‘staged reality’라고 표현 할 수 있겠죠. <img width="3442" height="1918" width_o="3442" height_o="1918" data-src="https://freight.cargo.site/t/original/i/d60b7a8cb34852e5dbb96491afd26e94de2ebb5ba50251b64f43a7581b528321/Copy-of-01winter.png" data-mid="190107242" border="0" alt="백현주, 친절한 영자씨 (봄), 2013. 단채널 필름. 12분 44초. Courtesy of the artist" data-caption="백현주, &lt;i&gt;친절한 영자씨&lt;/i&gt; (봄), 2013. 단채널 필름. 12분 44초. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/d60b7a8cb34852e5dbb96491afd26e94de2ebb5ba50251b64f43a7581b528321/Copy-of-01winter.png" /> <img width="1186" height="666" width_o="1186" height_o="666" data-src="https://freight.cargo.site/t/original/i/b8b033872c78a526e7fb519467813e6fe5960118221249723ca7ad29b3a1cbef/Copy-of-01summer.jpg" data-mid="190107240" border="0" alt="백현주, 친절한 영자씨 (여름), 2013. 단채널 필름. 12분 44초. Courtesy of the artist" data-caption="백현주, &lt;i&gt;친절한 영자씨&lt;/i&gt; (여름), 2013. 단채널 필름. 12분 44초. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/b8b033872c78a526e7fb519467813e6fe5960118221249723ca7ad29b3a1cbef/Copy-of-01summer.jpg" /> <img width="3436" height="1926" width_o="3436" height_o="1926" data-src="https://freight.cargo.site/t/original/i/813fabd82f0ddb22d31bd4e7274262bfe71056ab16003cec67c0ec6787834519/Copy-of-01autumn.png" data-mid="190107241" border="0" alt="백현주, 친절한 영자씨 (가을), 2013. 단채널 필름. 12분 44초. Courtesy of the artist" data-caption="백현주, &lt;i&gt;친절한 영자씨&lt;/i&gt; (가을), 2013. 단채널 필름. 12분 44초. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/813fabd82f0ddb22d31bd4e7274262bfe71056ab16003cec67c0ec6787834519/Copy-of-01autumn.png" /> <img width="3442" height="1918" width_o="3442" height_o="1918" data-src="https://freight.cargo.site/t/original/i/0c915e7ab9adb30647942977af1187d37acd9adcb6a200b9b7153bc68335aef7/Copy-of-01winter.png" data-mid="190158558" border="0" alt="백현주, 친절한 영자씨 (겨울), 2013. 단채널 필름. 12분 44초. Courtesy of the artist" data-caption="백현주, &lt;i&gt;친절한 영자씨&lt;/i&gt; (겨울), 2013. 단채널 필름. 12분 44초. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/0c915e7ab9adb30647942977af1187d37acd9adcb6a200b9b7153bc68335aef7/Copy-of-01winter.png" /> Swipe to see more images &lt;친절한 영자씨&gt;의 경우 영화 ‘친절한 금자씨’의 특정 장면이 촬영된 동네의 인근 주민들을 2년 정도 인터뷰 한 뒤, 그 중 중요한 부분들을 모아 만든 작업입니다. 그런데 2년에 걸쳐 인터뷰를 하는 동안, 동일한 질문에 대한 답변이 시시각각 달라지는 것을 경험했어요. 때로는 다른 사람의 맞장구로 인해 과장되기도 하고, 반박으로 인해 특정 부분이 흐릿해지기도 하고 말이에요. 동네 전체가 하나의 영화에 대한 기억을 서서히 바꾸어 나가는 듯한 느낌이었어요. 이렇게 시간이 지남에 따라 바뀌어가는 기억의 변화들을 사계절로 나누어 표현해보았습니다. 단면은 똑같은데 그걸 둘러싼 사람들의 기억과 계절이 달라진다랄까요. &lt;성북구 성북동&gt;과 &lt;친절한 영자씨&gt; 모두 해당 지역주민들의 이야기를 토대로 만들어진 작업이고, 저는 그 이야기를 취합 및 기록 후 렌즈로 옮기는 역할을 했어요. 기억을 쌓아간다는 점에서 작업 과정은 둘다 비슷했어요. 지속적으로 변화하는 기억이라는 소재를 다루며, 저의 주관이 개입된 부분은 시각적인 이미지를 만드는 방식 뿐이었습니다. 대부분의 작가님의 작업은 사람에게서 시작해 사람으로 끝나서 그런지, 늘 일상과 맞닿아 있다는 듯한 느낌이 들어요. 사람을 다루는 작업을 하며 특별히 염두에 두시는 부분이 있나요? 학부에서 영상 매체에서의 인터랙션(interaction)에 관한 수업을 들으며, 영상 작업에서의 ‘사람’이라는 주체가 정확히 어디에 있는가에 관한 의문이 생기기 시작했어요. 저에게 현대미술에서의 진정한 인터랙션이란 단순히 사람에 의해 (작업이) 작동이 되는 개념이 아니라, 보는 이가 신체적, 정신적 참여를 통해 작업에 동감하고 영상 속 상황에 처해진 사람과 동질감을 느낄 수 있는 것이라고 생각합니다. 이 부분을 늘 잊지 않고 작업에 임하려고 노력해요. <img width="9929" height="1885" width_o="9929" height_o="1885" data-src="https://freight.cargo.site/t/original/i/aa99b5a025e3c52f048de7fd8f81eaec10757d16a0bfdb83d710ef00b159162b/Copy-of-event_horizon_3screen.jpg" data-mid="190107243" border="0" alt="백현주, 사건의 지평선, 2019. 5 채널 4K 비디오 설치. 4분 29초. Courtesy of the artist" data-caption="백현주, &lt;i&gt;사건의 지평선&lt;/i&gt;, 2019. 5 채널 4K 비디오 설치. 4분 29초. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/aa99b5a025e3c52f048de7fd8f81eaec10757d16a0bfdb83d710ef00b159162b/Copy-of-event_horizon_3screen.jpg" /> 이번 ‘프리즈 필름’ 을 맞아 &nbsp;마더 오프라인에서 선보이는 스크리닝 작업에 대해 간략히 소개 부탁드려요. 이번 프리즈 필름에서는 &lt;친절한 영자씨&gt;와 &lt;사건의 지평선&gt;(2019)을 선보일 예정입니다. &nbsp;&lt;친절한 영자씨&gt;의 경우, 작업 특성상 전시 때 늘 스토리라인 도큐멘터리를 같이 선보였었는데, 이번에는 그러한 부차적인 스토리텔링의 소재는 제외하고 처음으로 영화로서의 서사만 조명할 예정이에요. &lt;사건의 지평선&gt;은 5개의 채널로 이루어진 영상인데요, 어떠한 정보도 들어갔다 나올 수 없는 갇혀있는 블랙홀의 상태를 이야기하고 싶었어요. 영상 속의 퍼포머들은 서로 거울로 마주보고 있는 듯한 자세로 ‘현실주의자’나 ‘지금’과 관련된 반복적인 이야기들을 해 나갑니다. 또, 김근태 선생님의 평전을 읽고 영감을 받아 시작된 작업이기도 해요. 그 분이 현실주의라는 이야기를 책에서 접하고, 과연 현실주의라는 개념이 어떠한 시간성을 띠고 있는 것인가라는 궁금증을 가지게 되었어요. 궁극적으로 하고 싶었던 이야기는—다소 디스토피아적으로 들릴 수도 있겠지만—사람이 사회를 구성하고 살아가는 과정 자체가 거시적인 관점에서는 어떠한 새로운 정보도 들어갔다 나오는 것이 없고, 그저 일직선으로 무한한 진공의 상태인 것은 아닐까라고 느꼈습니다. 이 작업을 제작했던 2019년이 개인적으로도, 사회적으로도 특히나 더욱 진공의 현실로 느껴졌던 것 같아요. 더 많은 분들에게 이번 프리즈 필름을 통해 다가갈 수 있게 되어 반가운 마음입니다. 이번 프리즈 서울 기간동안 진행되는 프리즈 필름에서는 백현주의&nbsp; &lt;친절한 영자씨&gt;(2013)와 &lt;사건의 지평선&gt;(2019)이 2023년 9월 9일까지 상영될 예정이다. 더 자세한 정보는 전시 공간인 마더 오프라인에서 확인할 수 있다: https://www.frieze.com/frieze-film/mother-offline©&nbsp; 2023 Radar https://radarseoul.com/Eom-Yu-Jeong Thu, 07 Sep 2023 17:14:25 +0000 Radar https://radarseoul.com/Eom-Yu-Jeong Eom Yu Jeong (b. 1985) “Rhythmic Waves” EN/KO Released on 8 Sep 2023Featured in ep. 1 ︎︎ EOM YU JEONG’s works begin from her meticulous, keen eyes on our surroundings such as elements in nature, humans, and inanimate objects. While she is widely recognized for receiving the first prize in the 2021 Best Book Design from All Over the World, Radar sought to approach her work with a broader perspective, spanning from paintings of melting mountains in Iceland to animations depicting waves in Jeju Island. Her works have been shown in A-Lounge Gallery, Seoul (2023); Kumho Museum of Art, Seoul (2023); Hakgojae Design Gallery, Seoul (2021); and Cheongju Art Studio, Cheongju (2019). She is based in Seoul. Have you always had the aspiration to become a painter? I’ve always had a deep desire to become a painter since I was very young, too young to even remember when it began. During my undergrad years, however, my school didn't particularly support drawing as a medium, which occasionally left me frustrated. Then, during my period as an exchange student at the Maryland Institute College of Art (MICA) in Baltimore, I experienced a lot of pivotal changes. During my time there, I discovered, for the first time, that even small-sized drawings could be regarded as artworks. With the guidance of a supportive professor and engaging with lectures that differed from conventional painting classes, my perspective began to expand. Upon returning to Korea, I delved into courses that focused on the human body. This marked the inception of my ongoing project as well as the compilation of a drawing archive featuring human gestures and bodies. It has since served as the fundamental foundation for the artwork I create today. <img width="1800" height="1245" width_o="1800" height_o="1245" data-src="https://freight.cargo.site/t/original/i/2afb847134d2d8b4e55142379a82f0d0c0c5de507646945b2b68465d45eda0fb/02_.jpg" data-mid="190072199" border="0" alt="Eom Yu Jeong, Relationship series, 2012. Color pencil on paper. Courtesy of the artist" data-caption="Eom Yu Jeong, &lt;i&gt;Relationship&lt;/i&gt; series, 2012. Color pencil on paper. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/2afb847134d2d8b4e55142379a82f0d0c0c5de507646945b2b68465d45eda0fb/02_.jpg" /> <img width="1800" height="1243" width_o="1800" height_o="1243" data-src="https://freight.cargo.site/t/original/i/5cae20e5fd236b0674011bece77aa2ae1068a4e9b6506fd2dc4e0a8e58eadbe2/01_.jpg" data-mid="190081041" border="0" alt="Eom Yu Jeong, Relationship series, 2012. Color pencil on paper. Courtesy of the artist" data-caption="Eom Yu Jeong, &lt;i&gt;Relationship&lt;/i&gt; series, 2012. Color pencil on paper. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/5cae20e5fd236b0674011bece77aa2ae1068a4e9b6506fd2dc4e0a8e58eadbe2/01_.jpg" /> <img width="1112" height="1500" width_o="1112" height_o="1500" data-src="https://freight.cargo.site/t/original/i/57e83c655b4fd9c9a7abc7f19fe58d035ac67b3c5dd44746ff8a702e7d6ca2ce/body-02.jpg" data-mid="190073022" border="0" alt="Eom Yu Jeong, Body series, 2012-14. Pen on paper. Courtesy of the artist" data-caption="Eom Yu Jeong, &lt;i&gt;Body&lt;/i&gt; series, 2012-14. Pen on paper. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/57e83c655b4fd9c9a7abc7f19fe58d035ac67b3c5dd44746ff8a702e7d6ca2ce/body-02.jpg" /> <img width="1057" height="1500" width_o="1057" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d2dd9826af2883f04c76fdee02e178e48f9d2750929928cdcfcad9fcc3c5d13e/body-01.jpg" data-mid="190073021" border="0" alt="Eom Yu Jeong, Body series, 2012-14. Pen on paper. Courtesy of the artist" data-caption="Eom Yu Jeong, &lt;i&gt;Body&lt;/i&gt; series, 2012-14. Pen on paper. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/d2dd9826af2883f04c76fdee02e178e48f9d2750929928cdcfcad9fcc3c5d13e/body-01.jpg" /> <img width="1888" height="2500" width_o="1888" height_o="2500" data-src="https://freight.cargo.site/t/original/i/a32ecab865e6c69574692c308e3046d144aa84d2dcd54c5150cde53bef700dc5/03.jpg" data-mid="190072202" border="0" alt="Eom Yu Jeong, Fisherman from Iceland series, 2014. Oil color on paper. 109 x 98 cm (42.9 x 38.6 in). Courtesy of the artist" data-caption="Eom Yu Jeong, &lt;i&gt;Fisherman&lt;/i&gt; from &lt;i&gt;Iceland&lt;/i&gt; series, 2014. Oil color on paper. 109 x 98 cm (42.9 x 38.6 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/a32ecab865e6c69574692c308e3046d144aa84d2dcd54c5150cde53bef700dc5/03.jpg" /> <img width="1885" height="2500" width_o="1885" height_o="2500" data-src="https://freight.cargo.site/t/original/i/fed19f354e030319c59c1bc471216bf73fe8e1dafd17f744c67cb0c106059b3f/04.jpg" data-mid="190072221" border="0" alt="Eom Yu Jeong, Fisherman from Iceland series, 2014. Gouache on paper. 109 x 98 cm (42.9 x 38.6 in). Courtesy of the artist" data-caption="Eom Yu Jeong, &lt;i&gt;Fisherman&lt;/i&gt; from &lt;i&gt;Iceland&lt;/i&gt; series, 2014. Gouache on paper. 109 x 98 cm (42.9 x 38.6 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/fed19f354e030319c59c1bc471216bf73fe8e1dafd17f744c67cb0c106059b3f/04.jpg" /> <img width="1872" height="2500" width_o="1872" height_o="2500" data-src="https://freight.cargo.site/t/original/i/31f0bde9e90aedeb7bfdc83a4ff30517c497ff73d24b16a080e313745979f560/05.jpg" data-mid="190072265" border="0" alt="Eom Yu Jeong, Woman from Iceland series, 2014. Oil color on paper. 109 x 98 cm (42.9 x 38.6 in). Courtesy of the artist" data-caption="Eom Yu Jeong, &lt;i&gt;Woman&lt;/i&gt; from &lt;i&gt;Iceland&lt;/i&gt; series, 2014. Oil color on paper. 109 x 98 cm (42.9 x 38.6 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/31f0bde9e90aedeb7bfdc83a4ff30517c497ff73d24b16a080e313745979f560/05.jpg" /> <img width="1881" height="2500" width_o="1881" height_o="2500" data-src="https://freight.cargo.site/t/original/i/9e5f5e3d84dad1d80e39ccbf333010ca27a086ab46de7a24b3328bee63862b9e/07.jpg" data-mid="190081036" border="0" alt="Eom Yu Jeong, Tokyo series, 2016. Gouache on paper. 56 x 42 cm (22 x 16.5 in). Courtesy of the artist" data-caption="Eom Yu Jeong, &lt;i&gt;Tokyo&lt;/i&gt; series, 2016. Gouache on paper. 56 x 42 cm (22 x 16.5 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/9e5f5e3d84dad1d80e39ccbf333010ca27a086ab46de7a24b3328bee63862b9e/07.jpg" /> <img width="1869" height="2500" width_o="1869" height_o="2500" data-src="https://freight.cargo.site/t/original/i/bd96c1aad44292c1a154ac0878ec99db842530ff4fcb1fba82a66366019d2110/06.jpg" data-mid="190081555" border="0" alt="Eom Yu Jeong, Tokyo series, 2016. Gouache on paper. 56 x 42 cm (22 x 16.5 in). Courtesy of the artist" data-caption="Eom Yu Jeong, &lt;i&gt;Tokyo&lt;/i&gt; series, 2016. Gouache on paper. 56 x 42 cm (22 x 16.5 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/bd96c1aad44292c1a154ac0878ec99db842530ff4fcb1fba82a66366019d2110/06.jpg" /> Swipe to see more images Indeed, your fascination with the human body is a recurring theme in your body of work, spanning from earlier series like Relationship (2012) and Body (2012-14) to your recent exhibition Night Waves (2021) at Hakgojae Design Gallery. While there are distinct appearances of human figures in your Iceland series (2014), figures in the majority of your works tend to be characterized more by their gestures and bodily shapes rather than by recognizable facial features. That is true. As evident in Relationship&nbsp;(2012), I have been consistently exploring the depiction of human relationships. I've maintained an archive of bodily expressions for an extended period, &nbsp;aiming to capture the subtle nuances of physical gestures. Through years of drawing human bodies, I've come to appreciate how nuanced gestures, such as the way one rests their chin on their hand, tilts their shoulder, or the direction in which their feet point, often reveal more about a person than their eyes, nose, or mouth. With this perspective in mind, I believe the face naturally assumes a relatively minor role compared to the significance of hands and feet in my work. My exploration of human drawings remains an ongoing endeavor, and each time I engage with this subject matter, I observe how these subtle details continually evolve. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/28e03f778f1b30671b8cd19a4e1a5d233b01ccfe556057043c95077274a58994/19.jpg" data-mid="190072475" border="0" data-scale="88" alt="Installation view of Night Waves at Hakgojae Design, PROJECT SPACE, 2021. Courtesy of the artist" data-caption="Installation view of &lt;i&gt;Night Waves&lt;/i&gt; at Hakgojae Design, PROJECT SPACE, 2021. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/28e03f778f1b30671b8cd19a4e1a5d233b01ccfe556057043c95077274a58994/19.jpg" /> <img width="1165" height="1500" width_o="1165" height_o="1500" data-src="https://freight.cargo.site/t/original/i/b964fd99245a743d0f4a7a3e4a6d324a74f85b60c3e8754b1bacdf0e30e70e75/night-face.jpg" data-mid="190081029" border="0" alt="Eom Yu Jeong, Night Face, 2021. Gouache on paper. 32 x 24 cm (12.6 x 9.45 in). Courtesy of the artist" data-caption="Eom Yu Jeong, &lt;i&gt;Night Face&lt;/i&gt;, 2021. Gouache on paper. 32 x 24 cm (12.6 x 9.45 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/b964fd99245a743d0f4a7a3e4a6d324a74f85b60c3e8754b1bacdf0e30e70e75/night-face.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/334ebe964d840844f6a2fe70939c0176ad541dd8193dc99de4e2b309dd506693/18.jpg" data-mid="190072507" border="0" alt="Installation view of Night Waves at Hakgojae Design, PROJECT SPACE, 2021. Courtesy of the artist" data-caption="Installation view of &lt;i&gt;Night Waves&lt;/i&gt; at Hakgojae Design, PROJECT SPACE, 2021. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/334ebe964d840844f6a2fe70939c0176ad541dd8193dc99de4e2b309dd506693/18.jpg" /> Swipe to see more images So, when you bring an object or figure onto the canvas or paper, is it fair to say that you lean more towards interpreting their body language rather than relying solely on objective observation? That's a question I've been grappling with myself. I would say it's more accurate to describe my approach as initially expressing my visual experiences through drawing and painting, rather than imposing a clear theme on the work. When I'm faced with plants, nature, or inanimate objects, my observations tend to be primarily objective, focusing on their external appearances. However, when it comes to human figures, I make an effort to focus on my inner emotions during our encounters. It's as if I borrow the human body as a means to express those experiential elements. Given that these works heavily depend on personal intuition, I hope viewers approach them with a broad perspective rather than trying to define them with specific keywords or making assumptions about the circumstances surrounding them. As you briefly mentioned, your subjects can be categorized into nature, objects, and human figures. Do you prefer to work on a series for each of these subjects? No, not exactly. I consistently and regularly document what I see and experience, and I believe that this ongoing process naturally leads to the development of my work over time. While my work can be visually divided into the categories you mentioned, I treat them all with equal significance, and one subject often serves as an inspiration for the next work featuring a different subject. They exist in an organic relationship with each other. For instance, after spending time working on human figures, that experience might inspire me to seek out&nbsp; rock as my next subject, and conversely, when I focus on drawing rocks for an extended period, I start to view human figures as if they were rocks. In the act of drawing, they begin to resemble each other in surprising ways. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/0047b650269fcdf7ba7eaacb453ea8fcf3a7342b943dd36be4c2d4e6f6064550/10.jpg" data-mid="190072673" border="0" data-scale="92" alt="Installation view of White Mountain at Artist Run Space 413, 2014. Courtesy of the artist" data-caption="Installation view of &lt;i&gt;White Mountain&lt;/i&gt; at Artist Run Space 413, 2014. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/0047b650269fcdf7ba7eaacb453ea8fcf3a7342b943dd36be4c2d4e6f6064550/10.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/660cd036e74baee119d685e6a514a95b9ee610e76db9123bcc240eef724fb69b/11.jpg" data-mid="190072685" border="0" alt="Installation view of White Mountain at Artist Run Space 413, 2014. Courtesy of the artist" data-caption="Installation view of &lt;i&gt;White Mountain&lt;/i&gt; at Artist Run Space 413, 2014. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/660cd036e74baee119d685e6a514a95b9ee610e76db9123bcc240eef724fb69b/11.jpg" /> Swipe to see more images You navigate various artistic mediums, including drawing, painting, and video. How do you determine which medium to use for a particular project? My choice of medium often depends on the essence of what I want to convey. When I aim to express something with depth, like a melting mountain or a natural landscape, I tend to lean towards painting. When I wish to emphasize the linear or structural aspects of elements, such as plants, drawing becomes my preferred medium. I would say that the subject matter drives my choice of medium, rather than the medium dictating the subject. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/b03a74d0e7de29654c44a7fab422550688d60ddef10937af04f5ef481e14541d/13.jpg" data-mid="190072715" border="0" data-scale="94" alt="Installation view of Feuilles at SOSHO, 2021. Courtesy of the artist" data-caption="Installation view of &lt;i&gt;Feuilles&lt;/i&gt; at SOSHO, 2021. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/b03a74d0e7de29654c44a7fab422550688d60ddef10937af04f5ef481e14541d/13.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/993b3eeed24b594452c21d0e98eb688ed10410c0cc57a343dead3568a743fb7c/14.jpg" data-mid="190072719" border="0" alt="Installation view of Feuilles at SOSHO, 2021. Courtesy of the artist " data-caption="Installation view of &lt;i&gt;Feuilles&lt;/i&gt; at SOSHO, 2021. Courtesy of the artist " src="https://freight.cargo.site/w/1000/i/993b3eeed24b594452c21d0e98eb688ed10410c0cc57a343dead3568a743fb7c/14.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/db6bd3faccdd0bc8d4e5a80e304d7d766c5c6fec3c9ab7687ad9820975287f45/21.jpg" data-mid="190072725" border="0" alt="Installation view of Araucaria at Cheongju Art Studio, 2019. Courtesy of the artist 
" data-caption="Installation view of &lt;i&gt;Araucaria&lt;/i&gt; at Cheongju Art Studio, 2019. Courtesy of the artist 
" src="https://freight.cargo.site/w/1000/i/db6bd3faccdd0bc8d4e5a80e304d7d766c5c6fec3c9ab7687ad9820975287f45/21.jpg" /> Swipe to see more images I can't help but mention the prestigious Golden Letter prize you received in 2021 for the Best Book Design from All Over the World. Could you please share more about the series Feuilles (2019-21), which earned you this award? Feuilles is the culmination of three years' worth of work. It represents a record of my observations made in various locations and time periods. You may as well compare it to a study of the various facets of a plant. Due to this award, some might view me as a "plant artist" (chuckles), but my interest lies less in becoming a botanical expert and more in my curiosity about the intricate, multi-layered structures and lines found in plants. Additionally, it provided me with an opportunity to break away from conventional drawing methods, allowing me to explore plants as an unfamiliar subject matter for a fresh perspective. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/0c3a96366a2be6b3cb692336c904e1116653ee5af32305090d8213e0d5b9a781/15.jpg" data-mid="190082239" border="0" data-scale="90" alt="Installation view of Study for Selem at Kim Hee Soo Art Center Art Gallery, 2021. Courtesy of the artist" data-caption="Installation view of &lt;i&gt;Study for Selem&lt;/i&gt; at Kim Hee Soo Art Center Art Gallery, 2021. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/0c3a96366a2be6b3cb692336c904e1116653ee5af32305090d8213e0d5b9a781/15.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/18c1a5686daf34150578f756fd2a205e8d572541d880d467ffb596cedcd849c6/16_.jpg" data-mid="190072866" border="0" alt="Installation view of Study for Selem at Kim Hee Soo Art Center Art Gallery, 2021. Courtesy of the artist" data-caption="Installation view of &lt;i&gt;Study for Selem&lt;/i&gt; at Kim Hee Soo Art Center Art Gallery, 2021. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/18c1a5686daf34150578f756fd2a205e8d572541d880d467ffb596cedcd849c6/16_.jpg" /> Swipe to see more images When you mention "observation," does that involve studying a subject in one place for an extended period, as you did with works like White Mountain (2014) or Glacier (2018)? For the Hand-tied Flowers series (2021) or Study for Selem (2021), yes. I made an effort to observe a single subject from various angles over a set period of time. This approach started during the pandemic when I had limited opportunities to go out, prompting me to purchase cut flowers. Interestingly, this approach also influenced my way into creating animations like Tunnel (2014). The act of repeatedly drawing not only echoes the characteristics of animation but also piqued my curiosity about comparing the concept of time encapsulated on a flat surface to that of moving film. While a still painting possesses its own sense of time, it undergoes a transformation into a distinct, moving form when the images accumulate into a continuous sequence. It becomes a captured moment in an illusion, as if in different rhythmic waves of time. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/36ab186e1a70a39960b82fca04f4d486b85b4ac17a45e3307be957875240343a/08.jpg" data-mid="190072766" border="0" alt="Eom Yu Jeong, Glenn Gould series, 2014. Oil color on paper. 42 x 56 cm (16.5 x 22 in). Courtesy of the artist" data-caption="Eom Yu Jeong, &lt;i&gt;Glenn Gould&lt;/i&gt; series, 2014. Oil color on paper. 42 x 56 cm (16.5 x 22 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/36ab186e1a70a39960b82fca04f4d486b85b4ac17a45e3307be957875240343a/08.jpg" /> Your interest in time is well reflected in Glenn Gould (2014), a series of paintings that also inspired an animation based on a video featuring the pianist playing J.S. Bach's composition. In this work, you divided Gould's motion into nineteen distinct paintings, eventually transforming them into an animated video. Could you explain more about the concept of time within the realm of painting? For me, time in painting embodies a sense of fluidity. It's fundamentally about the process. When I embark on creating a new piece of work, it requires a significant investment of time and patience, involving countless rounds of revisions. Every time I return to my work, even after a day I've convinced myself it's complete, it presents itself in an entirely new light. It somehow always appears before me in a completely different way than it did the day before. Witnessing this, I've come to realize that the notion of perfection or completion is boundless, much like a star in the universe. I may have thought I failed to complete my work on a particular day, but, in a sense, that's simply another version of what we call ‘completion.’ Much like life itself, it's an ever-evolving process. <img width="1800" height="1033" width_o="1800" height_o="1033" data-src="https://freight.cargo.site/t/original/i/48e1442c2ae58f7cfbe8226703eb44ec52043fe26703e59d367a01aed462bdc7/bush_shape-194x337cm-gouache-and-acrylic-on-canvas-2023.jpg" data-mid="190080917" border="0" alt="Eom Yu Jeong, Bush, 2023. Gouache and acrylic on canvas. 194 x 337 cm (76.4 x 132.7 in). Courtesy of the artist" data-caption="Eom Yu Jeong, &lt;i&gt;Bush&lt;/i&gt;, 2023. Gouache and acrylic on canvas. 194 x 337 cm (76.4 x 132.7 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/48e1442c2ae58f7cfbe8226703eb44ec52043fe26703e59d367a01aed462bdc7/bush_shape-194x337cm-gouache-and-acrylic-on-canvas-2023.jpg" /> During Frieze Seoul week, you simultaneously hosted a solo exhibition titled Three Shapes at A-Lounge Gallery and participated in a two-person show called Blue Face and Black Peony at Space Willing N Dealing. Could you provide a brief overview of your new works featured in these exhibitions? In my latest solo show, I'll be unveiling new works featuring snow, bushes, and rocks. These subjects had been on my mind for 2-3 years when my previous works focused on plants garnered attention. I wanted to explore deeper into the concept of the plane, an interest that was reignited during my residency in Iceland back in 2014. If Araucaria (2019) exhibited distinctive linear features and revolved around the rhythms inherent in their structure, these new works explore the treatment of multiple subjects simultaneously. Instead of presenting them in recognizable forms, my intention was to simplify and emphasize the format itself, which naturally resulted in a blurred identity for each subject. Looking back, it might appear more intricate than some of my previous works. Eom Yu Jeong's solo exhibition, Three Shapes, is currently on display at A-Lounge Gallery until Sep 16, 2023. The group exhibit,&nbsp;Blue Face and Black Peony, at Space Willing N Dealing will be open until Sep 17, 2023.&nbsp; For further details, please visit:&nbsp; A-Lounge Gallery:&nbsp;http://a-lounge.kr/ Space Willing N Dealing:&nbsp;https://www.willingndealing.org/©&nbsp; 2023 Radar https://radarseoul.com/Eom-Yu-Jeong-KOR Thu, 07 Sep 2023 20:37:01 +0000 Radar https://radarseoul.com/Eom-Yu-Jeong-KOR 엄 유 정 (b. 1985) “리듬의 차이” EN/KO Released on 8 Sep 2023Featured in ep. 1 ︎︎ 서울을 기반으로 활동하는 엄유정의 작업들은 일상에서 마주하는 자연의 요소와 인간, 때로는 사물들을 향한 긴밀하고 섬세한 관찰에서 시작된다. 그는 &lt;Feuilles&gt;(2019-21) 로&nbsp; 2021년 독일 국제 책 디자인 공모전에서 최고상인 ‘골든 레터’상을 수상한 작가로 익히 알려져 있는 작가이기도 하다. 래이더는 일상을 둘러싼 애정 어린 그의 시선에 주목하여 식물 작업 너머 보다 다양하고 심층적인 그의 작업 세계를 조명하고자 한다. 그의 작업은 서울 에이라운지(2023); 서울 금호미술관(2023); 서울 학고재 디자인 갤러리(2021); 청주미술창작스튜디오(2019) 등에서 전시된 바가 있다.&nbsp; 작가가 되기 이전의 삶은 어떠셨는지 궁금해요.회화를 전공했던 학부 시절은 어떠셨나요? 전 초등학교 입학도 전, 또렷하게 기억 나지 않을 시기부터 고등학교 때까지 줄곧 그림 그리는 걸 좋아해 자연스럽게 늘 화가가 되어야겠다는 생각을 하며 자라왔어요. 대학교 재학 시절, 학교에서는 크게 드로잉에 관심을 두지 않는 분위기였던 지라 알게 모르게 갑갑함을 많이 느꼈던 것 같아요. 그러던 중 미국 매릴랜드에 위치한 마이카(Maryland Institute College of Art)라는 미대에 교환학생을 가게 되었는데, 그 때 처음으로 작은 드로잉도 하나의 작품이 될 수 있구나 느꼈어요. 그 때 드로잉을 열심히 해보라고 격려해주던 교수님 곁에서 전통적인 회화 수업에서 벗어난 강의들을 들으며 더 넓은 세계를 경험 할 수 있었습니다. 그 후, 한국에 돌아와 인체 누드 수업을 열심히 수강하며 드로잉 연습을 했던 것이 곧 인체의 다양한 동작들을 아카이빙하는 계기가 되었고 오늘날 인체 작업들의 밑거름이 되기도 했어요. <img width="1800" height="1245" width_o="1800" height_o="1245" data-src="https://freight.cargo.site/t/original/i/2afb847134d2d8b4e55142379a82f0d0c0c5de507646945b2b68465d45eda0fb/02_.jpg" data-mid="190083309" border="0" alt="엄유정, Relationship 시리즈, 2012. 종이에 색연필. Courtesy of the artist" data-caption="엄유정, &lt;i&gt;Relationship&lt;/i&gt; 시리즈, 2012. 종이에 색연필. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/2afb847134d2d8b4e55142379a82f0d0c0c5de507646945b2b68465d45eda0fb/02_.jpg" /> <img width="1800" height="1243" width_o="1800" height_o="1243" data-src="https://freight.cargo.site/t/original/i/5cae20e5fd236b0674011bece77aa2ae1068a4e9b6506fd2dc4e0a8e58eadbe2/01_.jpg" data-mid="190083337" border="0" alt="엄유정, Relationship 시리즈, 2012. 종이에 색연필. Courtesy of the artist" data-caption="엄유정, &lt;i&gt;Relationship&lt;/i&gt; 시리즈, 2012. 종이에 색연필. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/5cae20e5fd236b0674011bece77aa2ae1068a4e9b6506fd2dc4e0a8e58eadbe2/01_.jpg" /> <img width="1112" height="1500" width_o="1112" height_o="1500" data-src="https://freight.cargo.site/t/original/i/57e83c655b4fd9c9a7abc7f19fe58d035ac67b3c5dd44746ff8a702e7d6ca2ce/body-02.jpg" data-mid="190083329" border="0" alt="엄유정, Body 시리즈, 2012-14. 종이에 펜. Courtesy of the artist" data-caption="엄유정, &lt;i&gt;Body&lt;/i&gt; 시리즈, 2012-14. 종이에 펜. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/57e83c655b4fd9c9a7abc7f19fe58d035ac67b3c5dd44746ff8a702e7d6ca2ce/body-02.jpg" /> <img width="1057" height="1500" width_o="1057" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d2dd9826af2883f04c76fdee02e178e48f9d2750929928cdcfcad9fcc3c5d13e/body-01.jpg" data-mid="190083328" border="0" data-scale="46" alt="엄유정, Body 시리즈, 2012-14. 종이에 펜. Courtesy of the artist" data-caption="엄유정, &lt;i&gt;Body&lt;/i&gt; 시리즈, 2012-14. 종이에 펜. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/d2dd9826af2883f04c76fdee02e178e48f9d2750929928cdcfcad9fcc3c5d13e/body-01.jpg" /> <img width="1888" height="2500" width_o="1888" height_o="2500" data-src="https://freight.cargo.site/t/original/i/a32ecab865e6c69574692c308e3046d144aa84d2dcd54c5150cde53bef700dc5/03.jpg" data-mid="190083310" border="0" alt="엄유정, Iceland 시리즈 중 Fisherman, 2014. 종이에 유화. 109 x 98 cm (42.9 x 38.6 in). Courtesy of the artist" data-caption="엄유정, &lt;i&gt;Iceland&lt;/i&gt; 시리즈 중 &lt;i&gt;Fisherman&lt;/i&gt;, 2014. 종이에 유화. 109 x 98 cm (42.9 x 38.6 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/a32ecab865e6c69574692c308e3046d144aa84d2dcd54c5150cde53bef700dc5/03.jpg" /> <img width="1885" height="2500" width_o="1885" height_o="2500" data-src="https://freight.cargo.site/t/original/i/fed19f354e030319c59c1bc471216bf73fe8e1dafd17f744c67cb0c106059b3f/04.jpg" data-mid="190083311" border="0" alt="엄유정, Iceland 시리즈 중 Fisherman, 2014. 종이에 과슈. 109 x 98 cm (42.9 x 38.6 in). Courtesy of the artist" data-caption="엄유정, &lt;i&gt;Iceland&lt;/i&gt; 시리즈 중 &lt;i&gt;Fisherman&lt;/i&gt;, 2014. 종이에 과슈. 109 x 98 cm (42.9 x 38.6 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/fed19f354e030319c59c1bc471216bf73fe8e1dafd17f744c67cb0c106059b3f/04.jpg" /> <img width="1872" height="2500" width_o="1872" height_o="2500" data-src="https://freight.cargo.site/t/original/i/31f0bde9e90aedeb7bfdc83a4ff30517c497ff73d24b16a080e313745979f560/05.jpg" data-mid="190083312" border="0" alt="엄유정, Iceland 시리즈 중 Woman, 2014. 종이에 유화. 109 x 98 cm (42.9 x 38.6 in). Courtesy of the artist" data-caption="엄유정, &lt;i&gt;Iceland&lt;/i&gt; 시리즈 중 &lt;i&gt;Woman&lt;/i&gt;, 2014. 종이에 유화. 109 x 98 cm (42.9 x 38.6 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/31f0bde9e90aedeb7bfdc83a4ff30517c497ff73d24b16a080e313745979f560/05.jpg" /> <img width="1881" height="2500" width_o="1881" height_o="2500" data-src="https://freight.cargo.site/t/original/i/9e5f5e3d84dad1d80e39ccbf333010ca27a086ab46de7a24b3328bee63862b9e/07.jpg" data-mid="190083336" border="0" alt="엄유정, Tokyo 시리즈, 2016. 종이에 과슈. 56 x 42 cm (22 x 16.5 in). Courtesy of the artist" data-caption="엄유정, &lt;i&gt;Tokyo&lt;/i&gt; 시리즈, 2016. 종이에 과슈. 56 x 42 cm (22 x 16.5 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/9e5f5e3d84dad1d80e39ccbf333010ca27a086ab46de7a24b3328bee63862b9e/07.jpg" /> <img width="1869" height="2500" width_o="1869" height_o="2500" data-src="https://freight.cargo.site/t/original/i/bd96c1aad44292c1a154ac0878ec99db842530ff4fcb1fba82a66366019d2110/06.jpg" data-mid="190083338" border="0" alt="엄유정, Tokyo 시리즈, 2016. 종이에 과슈. 56 x 42 cm (22 x 16.5 in). Courtesy of the artist" data-caption="엄유정, &lt;i&gt;Tokyo&lt;/i&gt; 시리즈, 2016. 종이에 과슈. 56 x 42 cm (22 x 16.5 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/bd96c1aad44292c1a154ac0878ec99db842530ff4fcb1fba82a66366019d2110/06.jpg" /> Swipe to see more images 말씀하신 인체 작업들은 &lt;Relationship&gt;(2012)과 &lt;Body&gt;(2012-2014) 연작을 시작으로 최근 2021년 학고재 디자인 갤러리에서 선보인 &lt;밤-긋기&gt;까지 지속적으로 등장하는 것으로 보여요. 작가님 작업에서 등장하는 인물들의 얼굴은 &lt;Iceland&gt;(2014) 등을 제외하고는 대부분 특징이 소거된 채 인체만이 부각되는 느낌인데,특별한 이유가 있나요? &lt;Relationship&gt;(2012) 시리즈에서 나타나듯이 사람 사이의 관계에 관한 작업들을 오랫동안 해왔어요. 평소에도 몸의 표정에 대한 아카이브를 지속적으로 쌓는 편인데요, 몸의 동작들이 가지는 뉘앙스를 축적하는 것과도 같습니다. 오랜 시간 인체를 그리는 연습을 하면서 눈, 코, 입같은 이목구비를 통해 인간에 대해 알게 되기보다 오히려 손동작, 어깨의 기울기, 발의 동작과 같이 신체의 미세한 제스처들을 통해 다양한 감각들이 만들어진다고 느꼈어요. 그런 지점을 부각하다 보니 의식하지 않은 채 자연스레 얼굴이나 얼굴을 감싼 머리카락, 그 안에 담긴 눈은 없어지고 손발이 강조되는 방향으로 인체의 형태가 그려졌다고 해야할까요. 인체 형상은 여전히 현재 진행으로 그리는 중인데, 늘 모습이 조금씩 달라지는 느낌입니다. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/28e03f778f1b30671b8cd19a4e1a5d233b01ccfe556057043c95077274a58994/19.jpg" data-mid="190083313" border="0" data-scale="88" alt="⟪Night Waves⟫ 전시 전경, 학고재 디자인 프로젝트 스페이스, 2021. Courtesy of the artist" data-caption="⟪Night Waves⟫ 전시 전경, 학고재 디자인 프로젝트 스페이스, 2021. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/28e03f778f1b30671b8cd19a4e1a5d233b01ccfe556057043c95077274a58994/19.jpg" /> <img width="1165" height="1500" width_o="1165" height_o="1500" data-src="https://freight.cargo.site/t/original/i/b964fd99245a743d0f4a7a3e4a6d324a74f85b60c3e8754b1bacdf0e30e70e75/night-face.jpg" data-mid="190083334" border="0" alt="엄유정, Night Waves 시리즈 중 Night face, 2021. 종이에 과슈. 32 x 24 cm (12.6 x 9.45 in). Courtesy of the artist" data-caption="엄유정, &lt;i&gt;Night Waves&lt;/i&gt; 시리즈 중 &lt;i&gt;Night face&lt;/i&gt;, 2021. 종이에 과슈. 32 x 24 cm (12.6 x 9.45 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/b964fd99245a743d0f4a7a3e4a6d324a74f85b60c3e8754b1bacdf0e30e70e75/night-face.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/334ebe964d840844f6a2fe70939c0176ad541dd8193dc99de4e2b309dd506693/18.jpg" data-mid="190083315" border="0" alt="⟪Night Waves⟫ 전시 전경, 학고재 디자인 프로젝트 스페이스, 2021. Courtesy of the artist" data-caption="⟪Night Waves⟫ 전시 전경, 학고재 디자인 프로젝트 스페이스, 2021. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/334ebe964d840844f6a2fe70939c0176ad541dd8193dc99de4e2b309dd506693/18.jpg" /> Swipe to see more images 대상을 화면에 옮길 때 그 대상에 대한 객관적인 관찰보다는 바디 랭귀지나 전체적인 느낌을 주목한다는 의미일까요? 그 부분은 저 또한 여전히 고민하는 지점인데요, 작업의 주제를 명확히 정해놓고 시작한다기보다 주위의 시각적인 경험들을 다양하게 드로잉과 페인팅으로 표현하는 것에서 시작하는 것 같아요. 식물이나 자연, 혹은 사물을 대상으로 할 때는 외부의 객관적인 관찰에 초점을 둬요. 하지만 인물을 그릴 때는 객관적인 묘사가 아닌 제가 경험하거나 느낀 감정들, 즉 내재화 된 추상적인 요소들을 인물이라는 형체를 빌려 표현한다고 할 수 있겠네요. 다시 말해 인체 동작을 이용해 전달하고자 하는 경험적 측면을 묘사한 셈이죠. 개인적인 감각으로 그려지는 부분이 많다 보니, 보는 이들이 (작품을) 구체적인 상황을 유추하거나 특정 키워드로 한정하기 보다 인체의 몸이라는 거시적인 차원에서 접근을 해주셨으면 해요. 작업에 등장하는 소재들은 시리즈 별로 자연,&nbsp;인물 혹은 사물 등으로 명확히 분류되는 것으로 보여요.&nbsp;연작 작업을 하실 때 눈길을 끄는 큰 주제를 염두에 두고 시작하시나요? 특별한 주제를 정해서 작업을 시작한다기보다 평상시에 꾸준히 그려나가는 과정에서 자연스레 작업이 시작된다고 하는 게 정확할 것 같아요. 현재 제 삶의 경험과 가장 맞닿아 있고 가까운 것들을 기록하고 관찰한 다음, 그게 시간을 통해 축적되면 시리즈나 카테고리가 돼요. 분류의 편의상 소재들이 인물, 사연, 자연으로 크게 나뉠 수 있지만 저에게는 모두 평등한 대상들이며, 각 소재가 다음 작업으로 넘어가게 되는 유기적인 계기와도 같습니다. 인물 작업을 하다 보면 거기에 쏟은 시간이 인물을 닮은 바위를 찾는 과정이 되기도 하고, 바위를 한참 그리다 보면 인물을 바위처럼 바라보게 된다거나 말이에요. 그리다 보면 결국 서로 모두 닮아있더라고요. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/0047b650269fcdf7ba7eaacb453ea8fcf3a7342b943dd36be4c2d4e6f6064550/10.jpg" data-mid="190083317" border="0" data-scale="92" alt="⟪White Mountain⟫ 전시 전경, 공간 사일삼, 2014. Courtesy of the artist" data-caption="⟪White Mountain⟫ 전시 전경, 공간 사일삼, 2014. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/0047b650269fcdf7ba7eaacb453ea8fcf3a7342b943dd36be4c2d4e6f6064550/10.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/660cd036e74baee119d685e6a514a95b9ee610e76db9123bcc240eef724fb69b/11.jpg" data-mid="190083318" border="0" alt="⟪White Mountain⟫ 전시 전경, 공간 사일삼, 2014. Courtesy of the artist" data-caption="⟪White Mountain⟫ 전시 전경, 공간 사일삼, 2014. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/660cd036e74baee119d685e6a514a95b9ee610e76db9123bcc240eef724fb69b/11.jpg" /> Swipe to see more images 페인팅과 드로잉,&nbsp;영상을 오가며 작업을 하시는 것으로 알고 있어요.각 소재마다 어떤 기준으로 작업 방식을 선택하시나요? 경험하는 풍경이 눈 녹는 설산과 같이 형상이 달라지는 면(plane)이거나 부피감에 대한 작업이라면 페인팅을 택해요. 반면 식물의 선적인 특징이나 구조적인 면을 강조하고 싶을 때는 건재료를 이용한 드로잉으로 시작하고요. 제가 먼저 정하기보다 대상에 따라 저를 바꾸는 방식이라고 할 수 있습니다. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/b03a74d0e7de29654c44a7fab422550688d60ddef10937af04f5ef481e14541d/13.jpg" data-mid="190083320" border="0" alt="⟪Feuilles⟫ 전시 전경, 소쇼, 서울, 2021. Courtesy of the artist " data-caption="⟪Feuilles⟫ 전시 전경, 소쇼, 서울, 2021. Courtesy of the artist " src="https://freight.cargo.site/w/1000/i/b03a74d0e7de29654c44a7fab422550688d60ddef10937af04f5ef481e14541d/13.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/993b3eeed24b594452c21d0e98eb688ed10410c0cc57a343dead3568a743fb7c/14.jpg" data-mid="190083321" border="0" alt="⟪Feuilles⟫ 전시 전경, 소쇼, 서울, 2021. Courtesy of the artist " data-caption="⟪Feuilles⟫ 전시 전경, 소쇼, 서울, 2021. Courtesy of the artist " src="https://freight.cargo.site/w/1000/i/993b3eeed24b594452c21d0e98eb688ed10410c0cc57a343dead3568a743fb7c/14.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/db6bd3faccdd0bc8d4e5a80e304d7d766c5c6fec3c9ab7687ad9820975287f45/21.jpg" data-mid="190083322" border="0" alt="⟪Araucaria⟫ 전시 전경, 청주미술창작스튜디오, 2019. Courtesy of the artist 
" data-caption="⟪Araucaria⟫ 전시 전경, 청주미술창작스튜디오, 2019. Courtesy of the artist 
" src="https://freight.cargo.site/w/1000/i/db6bd3faccdd0bc8d4e5a80e304d7d766c5c6fec3c9ab7687ad9820975287f45/21.jpg" /> Swipe to see more images 아무래도 2021년에 수상하신 ‘세계에서 가장 아름다운 책’상과 관련하여 언급을 안할 수가 없어요.당시 상을 받은 &lt;Feuilles&gt;(2019-21)에 대해 간략히 소개 부탁드려요. 해당 작업은 3년정도 축적의 과정을 거친 시리즈에요. 매 순간마다 관찰했던 걸 다른 시기, 다른 장소에서 그린 작업들의 모음입니다. 식물에 관한 여러가지 방면의 스터디랄까요. 해당 시리즈만 보시고 흔히들 제가 식물 작가라고 생각하시기도 하는데요 (웃음). 식물 자체에 대한 전문적인 관심보다는 자연물을 관찰하다 보면 제가 알지 못하는 다양한 구조나 선적인 특성이 있다고 느꼈고, 자연스레 더 알아보고 싶은 호기심이 생겼었어요. 지금까지 그려왔던 관습적인 방식에서 벗어날 수 있는 시도가 될 것 같다고 느껴져 낯선 대상으로서의 식물을 계속 찾아 나섰던 기억이 있습니다. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/0c3a96366a2be6b3cb692336c904e1116653ee5af32305090d8213e0d5b9a781/15.jpg" data-mid="190083339" border="0" data-scale="90" alt="⟪Study for Selem⟫ 전시 전경, 김희수아트센터 아트갤러리, 서울, 2021. Courtesy of the artist" data-caption="⟪Study for Selem⟫ 전시 전경, 김희수아트센터 아트갤러리, 서울, 2021. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/0c3a96366a2be6b3cb692336c904e1116653ee5af32305090d8213e0d5b9a781/15.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/18c1a5686daf34150578f756fd2a205e8d572541d880d467ffb596cedcd849c6/16_.jpg" data-mid="190083326" border="0" alt="⟪Study for Selem⟫ 전시 전경, 김희수아트센터 아트갤러리, 서울, 2021. Courtesy of the artist" data-caption="⟪Study for Selem⟫ 전시 전경, 김희수아트센터 아트갤러리, 서울, 2021. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/18c1a5686daf34150578f756fd2a205e8d572541d880d467ffb596cedcd849c6/16_.jpg" /> Swipe to see more images ‘관찰한다’라는 건 꾸준히 하나의 대상을 오랜 시간 동안 같은 자리에서 지켜본다는 의미이실까요?&nbsp;작가님의 다른 작업에서 등장하는 빙하나 설산처럼 말이에요. 묶음 꽃 시리즈 &lt;Hand-tied Flowers&gt;(2021)나 &lt;셀렘에 대한 스터디&gt;(2021) 에서는 하나의 대상을 가까이서 관찰하고 다양한 각도에서 그려보기도 했어요. 코로나로 인해 외부와 단절되다 보니 절화를 사서 그리기 시작한 것이 시초였습니다. 이러한 그리기 방법은 &lt;Tunnel&gt;(2014)과 같은 애니메이션을 작업하는 데에도 중요한 요소였던 것 같아요. 드로잉 작업의 반복적인 수행이 자연스레 축적되는 과정 자체가 애니메이션을 환기하기도 하고 평면에서 그려내는 시간과 영상에 담기는 시간 간의 비교점이 흥미롭다고 느껴졌거든요. 하나의 그림 안에 그 만의 온전한 시간이 있다면, 연속성을 띠고 시리즈가 되면 그게 전체로서의 또 하나의 시간성을 만들어낸다고 생각했어요.&nbsp; 또 다른 리듬으로 말이죠. 평면 안에서 정지된 시간과는 다른 일루젼 속의 시간의 차이라고 말할 수 있어요. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/36ab186e1a70a39960b82fca04f4d486b85b4ac17a45e3307be957875240343a/08.jpg" data-mid="190083324" border="0" alt="엄유정, Glenn Gould 시리즈, 2014. 종이에 유화. 42 x 56 cm (16.5 x 22 in). Courtesy of the artist" data-caption="엄유정, &lt;i&gt;Glenn Gould&lt;/i&gt; 시리즈, 2014. 종이에 유화. 42 x 56 cm (16.5 x 22 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/36ab186e1a70a39960b82fca04f4d486b85b4ac17a45e3307be957875240343a/08.jpg" /> &lt;Glenn Gould&gt;(2014)는 피아니스트 글렌 굴드가 바흐의 골드베르크 변주곡을 연주하는 영상을 보고 영감을 받아 작업하신 것으로 알고 있어요. 연주 동작을 분절하여 19점의 그림으로 그린 뒤 다시 애니메이션으로 변환한 작업 방식에서도 시간에 대한 작가님의 관심이 느껴졌어요. 앞에서도 언급하신 회화만이 가진 시간이라는 게 정확히 무슨 의미인가요? 그림 안의 시간은 고정되어 있지 않다고 생각해요. 궁극적으로는 과정에 대한 것들을 이야기해보고 싶었던 것 같아요. 나무 하나를 그려도 마음에 드는 선과 색을 찾기까지 오랜 시간이 걸리고 많은 수정을 거쳐요. 어느 순간, 작업을 하고 집에 와서 보면 다음 날 또 다른 그림이 되어 있는 걸 보며, 그림에서 완성이라는 건 참 많구나라고 생각했어요. 무수히 많은 완성 중에 난 하나의 완성을 했을 뿐이구나, 마치 우주의 별처럼 말이죠. 순간에 망쳤다고 생각되어도 그 길로 또 다른 새로운 완성이 생겨나기도 하는 것같아요. 마치 우리 삶이 그런 것처럼요. 그러다 보니 자연스레 그림 안에서의 살아있는 시간에 대해 고민하게 되었습니다. <img width="1800" height="1033" width_o="1800" height_o="1033" data-src="https://freight.cargo.site/t/original/i/48e1442c2ae58f7cfbe8226703eb44ec52043fe26703e59d367a01aed462bdc7/bush_shape-194x337cm-gouache-and-acrylic-on-canvas-2023.jpg" data-mid="190083332" border="0" alt="엄유정, Bush, 2023. 캔버스에 과슈와 아크릴. 194 x 337 cm (76.4 x 132.7 in). Courtesy of the artist" data-caption="엄유정, &lt;i&gt;Bush&lt;/i&gt;, 2023. 캔버스에 과슈와 아크릴. 194 x 337 cm (76.4 x 132.7 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/48e1442c2ae58f7cfbe8226703eb44ec52043fe26703e59d367a01aed462bdc7/bush_shape-194x337cm-gouache-and-acrylic-on-canvas-2023.jpg" /> &nbsp; 이번 프리즈 기간 동안 에이라운지에서는 ≪세 가지 형태≫&nbsp;개인전에,&nbsp;스페이스 윌링앤딜링에서는 ≪파란 얼굴과 검은 작약≫&nbsp;단체전에 참여하시는 걸로 알고 있어요.&nbsp;전시 참여작들에 대해 설명해주실 수 있을까요? 이번 개인전에서는 눈과 수풀, 그리고 돌에 대해서 그렸어요. 식물 작업으로 한창 소개 될 때 이미 고민을 시작했던, 2-3년 정도 생각을 거친 뒤 그린 작업입니다. 2014년 아이슬란드 레지던시 시절 그린 &lt;White mountain&gt;에서 시작된 면에 대한 관심을 더 표현해보려고 했어요. &lt;아라우카리아&gt;는 선적인 특성이 강하고 그 안에서 발견되는 리듬과 관련된 느낌들로 작업을 이어 나갔다면 이번에는 여러 대상을 다루는 것 자체를 소재로 했습니다. 각 대상이 명확하게 나타나다기 보다는 눈덩이, 돌덩인, 풀덩이를 뒤섞어본다랄까요. 물론 이 또한 자연스러운 흐름이었다. 작업을 하다보니 형태가 부각되고 단순화되며 각 소재만의 정체성은 흐려졌죠. 예전 작업보다는 (대상이) 무엇인지 다소 알 수 없게 느껴질 수도 있겠다 싶네요. 엄유정의 개인전&nbsp;≪세 가지 형태≫는 2023년 9월 16일까지 에이라운지 갤러리에서 만나볼 수 있다. 단체전 ≪파란 얼굴과 검은 작약≫은 2023년 월 17일까지 스페이스 윌링앤딜링에서 진행될 예정이다. 더 많은 정보는 다음 사이트를 통해 확인할 수 있다: A-Lounge Gallery:&nbsp;http://a-lounge.kr/ Space Willing N Dealing:&nbsp;https://www.willingndealing.org/©&nbsp; 2023 Radar https://radarseoul.com/Jong-Oh Thu, 07 Sep 2023 11:03:22 +0000 Radar https://radarseoul.com/Jong-Oh Jong Oh (b. 1981) “Poetic Geometry” EN/KO Released on 8 Sep 2023Featured in ep. 1 ︎︎ JONG OH is an artist known for his exploration of minimal and site-specific sculpture and installation, often working with given materials and limited space. Working within designated areas with clearly defined boundaries might appear as a limitation or challenge to some, but for him, it serves as a wellspring of inspiration for fresh perspectives. Although his artworks aptly achieve a remarkable harmony with their respective spaces, giving off an impression of precision and meticulousness, his creative process thrives on spontaneous intuitions and an immediate, reciprocal engagement with the site itself. Based in Seoul and New York, his works have been shown in various institutions including Art Sonje Center, Seoul (2023); Choi Man Lin Museum, Seoul (2023); Doosan Gallery, New York &amp; Seoul (2021); Song Eun Art Space, Seoul (2020); ZKM Center for Art and Media, Karlsruhe (2019); and Seoul Museum of Art, Seoul (2018). He has been honored with the Excellence Prize at the 20th Song Eun Art Award. How has life been treating you since your recent two-person exhibit, A Place Between Rhythm and Rhythm at the Choi Man Lin Museum? It's been quite busy on my end, with multiple shows set to open in September, but overall, things are going well. Given that my work often requires me to be on-site, I find myself in situations where I need to envision the space I'll be working in since it can vary greatly. <img width="2857" height="4000" width_o="2857" height_o="4000" data-src="https://freight.cargo.site/t/original/i/c22bc527c87a03049df68c44e7c6f7189a5d3d26690291022fb574d399a8462c/Jong_20.jpg" data-mid="190043346" border="0" alt="Jong Oh, Room drawing (light) #1, 2023. LED light, electric wire, rope wire. Dimensions variable. Courtesy of Choi Man Lin Museum" data-caption="Jong Oh, &lt;i&gt;Room drawing (light) #1&lt;/i&gt;, 2023. LED light, electric wire, rope wire. Dimensions variable. Courtesy of Choi Man Lin Museum" src="https://freight.cargo.site/w/1000/i/c22bc527c87a03049df68c44e7c6f7189a5d3d26690291022fb574d399a8462c/Jong_20.jpg" /> <img width="2857" height="4000" width_o="2857" height_o="4000" data-src="https://freight.cargo.site/t/original/i/197c3c860b74837c5517af52dc3c58368e5275b6123a8d6a8074792827d01a42/Jong_21.jpg" data-mid="190041303" border="0" data-scale="43" alt="Jong Oh, Room drawing (light) #1, 2023. LED light, electric wire, rope wire. Dimensions variable. Courtesy of Choi Man Lin Museum" data-caption="Jong Oh, &lt;i&gt;Room drawing (light) #1&lt;/i&gt;, 2023. LED light, electric wire, rope wire. Dimensions variable. Courtesy of Choi Man Lin Museum" src="https://freight.cargo.site/w/1000/i/197c3c860b74837c5517af52dc3c58368e5275b6123a8d6a8074792827d01a42/Jong_21.jpg" /> Swipe to see more images Considering your work's nomadic nature, where you prefer to roam and explore, has the COVID-19 pandemic had any impact on your artistic process and lifestyle? There was a certain period when the pandemic heavily influenced my work and lifestyle. Prior to the pandemic, as you mentioned, I would frequently move around without a fixed residence or studio. However, due to COVID-19, I made an unexpected decision to establish a permanent home and studio in Korea. This shift was motivated by a growing sense of the need to anchor myself both physically and mentally after years of constant travel. Interestingly, this decision to settle in one place provided me with a fresh perspective and the opportunity to revisit some of my earlier works that I had temporarily set aside, such as my small watercolor pieces and the Folding Drawing series. In hindsight, even though none of this was part of my original plan, it has all ultimately worked in my favor. <img width="4242" height="6111" width_o="4242" height_o="6111" data-src="https://freight.cargo.site/t/original/i/270fb80bfa7ece0de72867fbb6cfbe559eec9b31f80759405a0ec3d4a811e6b5/Jong_19.jpg" data-mid="190041360" border="0" data-scale="48" alt="Jong Oh, Folding Drawing #55, 2022. Wood panel, paint, metal rod, chain. 38 x 15.2 x 11.2 cm (15 x 6 x 4.4 in). Courtesy of the artist" data-caption="Jong Oh, &lt;i&gt;Folding Drawing #55&lt;/i&gt;, 2022. Wood panel, paint, metal rod, chain. 38 x 15.2 x 11.2 cm (15 x 6 x 4.4 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/270fb80bfa7ece0de72867fbb6cfbe559eec9b31f80759405a0ec3d4a811e6b5/Jong_19.jpg" /> <img width="1470" height="2000" width_o="1470" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b80393458054507d846da2b5ac53c89b647904857b1728fb28c7501680e46854/Jong_25.jpg" data-mid="190041324" border="0" alt="Jong Oh, Light of Seoul #8, 2023. Watercolor and graphite on paper. 33 &times; 24 cm (13 x 9.5 in). Courtesy of the artist" data-caption="Jong Oh, &lt;i&gt;Light of Seoul #8&lt;/i&gt;, 2023. Watercolor and graphite on paper. 33 × 24 cm (13 x 9.5 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/b80393458054507d846da2b5ac53c89b647904857b1728fb28c7501680e46854/Jong_25.jpg" /> <img width="1465" height="2000" width_o="1465" height_o="2000" data-src="https://freight.cargo.site/t/original/i/bcb93a87c0cf71854ed4ce0a3fcf179ac48422c6d5f890d3d4c9868dedf913f2/Jong_24.jpg" data-mid="190041353" border="0" alt="Jong Oh, Light of Seoul #6, 2023. Watercolor and graphite on paper. 33 &times; 24 cm (13 x 9.5 in). Courtesy of the artist" data-caption="Jong Oh, &lt;i&gt;Light of Seoul #6&lt;/i&gt;, 2023. Watercolor and graphite on paper. 33 × 24 cm (13 x 9.5 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/bcb93a87c0cf71854ed4ce0a3fcf179ac48422c6d5f890d3d4c9868dedf913f2/Jong_24.jpg" /> <img width="4020" height="5360" width_o="4020" height_o="5360" data-src="https://freight.cargo.site/t/original/i/d89fe7f88d8b0f2843d00bd643ac9b58b76cbb8f3a6ceafd1d0b066d3f60d396/Jong_23.jpg" data-mid="190041354" border="0" alt="Jong Oh, Light of Andratx #6, 2019. Watercolor and graphite on paper. 30 &times; 23 cm (11.8 x 9 in). Courtesy of the artist" data-caption="Jong Oh, &lt;i&gt;Light of Andratx #6&lt;/i&gt;, 2019. Watercolor and graphite on paper. 30 × 23 cm (11.8 x 9 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/d89fe7f88d8b0f2843d00bd643ac9b58b76cbb8f3a6ceafd1d0b066d3f60d396/Jong_23.jpg" /> Swipe to see more images You were born in Mauritania, located in Northwest Africa, and spent most of your childhood in Spain. Did this constant movement between countries with diverse cultures ever make you feel a lack of belonging? I became accustomed to frequent relocation during my upbringing. Surprisingly, the absence of a strong attachment to any specific place actually provided me with a sense of freedom and comfort. In my earlier years as an artist, I believed that my multicultural background had no bearing on my creative process or the type of work I produced. I resisted connecting the dots between my upbringing and my art, as I felt it might hinder the interpretation of my work. However, in recent times, I've come to recognize a deeper correlation than I initially thought. For instance, many of my site-specific works are created spontaneously on-site and later dismantled once the exhibition concludes. When I look back, these processes mirror the moments and emotions I experienced during my childhood when I had to repeatedly leave behind newly formed friendships and a sense of comfort. The concept of being firmly rooted in one place didn't come naturally to me. While I don't consciously dwell on these memories when I work, I do believe they may have subtly influenced my artistic approach. You've explored a variety of series that utilize space in different ways, ranging from Room Drawing to Line Sculpture. What are the key considerations that guide you when you embark on an installation in a room? It might sound a bit abstract (chuckles), but I essentially engage in a dialogue with the space. By approaching a particular space with an open and receptive mindset and spending ample time immersed in it, it's as if I can hear responses to my questions. Maintaining harmony with the space is paramount. The majority of my works are executed with as minimal advance planning as possible. <img width="3011" height="4511" width_o="3011" height_o="4511" data-src="https://freight.cargo.site/t/original/i/4fc0946499305230a86b5d694335ef9af48276ebedd9822e28ed24bae496d7cc/Jong_18.jpg" data-mid="190041618" border="0" alt="Jong Oh, Line Sculpture #4, 2013. Wood, paint, string, plexiglass. 140 x 112 x 60 cm (55 x 44 x 23.5 in). Courtesy of the artist" data-caption="Jong Oh, &lt;i&gt;Line Sculpture #4&lt;/i&gt;, 2013. Wood, paint, string, plexiglass. 140 x 112 x 60 cm (55 x 44 x 23.5 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/4fc0946499305230a86b5d694335ef9af48276ebedd9822e28ed24bae496d7cc/Jong_18.jpg" /> <img width="3406" height="4000" width_o="3406" height_o="4000" data-src="https://freight.cargo.site/t/original/i/269818dda71a761050c06a5ad6105c9b8c1124cac5483cc1e94042a6ca435347/Jong_11.jpg" data-mid="190041474" border="0" data-scale="83" alt="Jong Oh, Wall Drawing #1, 2015. String, metal rod, pencil line, paint, bead. 240 x 240 x 32 cm (94 x 94 x 12.4 in). Courtesy of the artist" data-caption="Jong Oh, &lt;i&gt;Wall Drawing #1&lt;/i&gt;, 2015. String, metal rod, pencil line, paint, bead. 240 x 240 x 32 cm (94 x 94 x 12.4 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/269818dda71a761050c06a5ad6105c9b8c1124cac5483cc1e94042a6ca435347/Jong_11.jpg" /> <img width="2707" height="4000" width_o="2707" height_o="4000" data-src="https://freight.cargo.site/t/original/i/02fda0c4a1a937bdfc67b64f392bbd4bb433261e635a774548e6fd952ecd7311/Jong_12.jpg" data-mid="190041574" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/02fda0c4a1a937bdfc67b64f392bbd4bb433261e635a774548e6fd952ecd7311/Jong_12.jpg" /> <img width="2376" height="4000" width_o="2376" height_o="4000" data-src="https://freight.cargo.site/t/original/i/e1ebce2e65dd60143edf68bf8b36e25bb7a4f11bbafca78564ae3792fb791773/Jong_13.jpg" data-mid="190041583" border="0" data-scale="55" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/e1ebce2e65dd60143edf68bf8b36e25bb7a4f11bbafca78564ae3792fb791773/Jong_13.jpg" /> <img width="4000" height="2596" width_o="4000" height_o="2596" data-src="https://freight.cargo.site/t/original/i/b0091bf96713c40db8d50a00b0b36f8b2baa8a2914b2977d56a9f6e3b1246900/Jong_07.jpg" data-mid="190041689" border="0" alt="Jong Oh, Reposition, Translocation, 2012. String, weight, plastic sheet, wood, paint, nail, graphite, C-print, Dimensions variable. Courtesy of the artist" data-caption="Jong Oh, &lt;i&gt;Reposition, Translocation&lt;/i&gt;, 2012. String, weight, plastic sheet, wood, paint, nail, graphite, C-print, Dimensions variable. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/b0091bf96713c40db8d50a00b0b36f8b2baa8a2914b2977d56a9f6e3b1246900/Jong_07.jpg" /> <img width="4000" height="3141" width_o="4000" height_o="3141" data-src="https://freight.cargo.site/t/original/i/e040a6df91f4fc01738da0211c1bd2d2810b37de513a5d4a07443f3b1bb156d1/Jong_08.jpg" data-mid="190044610" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/e040a6df91f4fc01738da0211c1bd2d2810b37de513a5d4a07443f3b1bb156d1/Jong_08.jpg" /> <img width="2924" height="4000" width_o="2924" height_o="4000" data-src="https://freight.cargo.site/t/original/i/7939a71151d11562bae9de31601682196f279c6405ea1504c2a7f9d8bdeaaf9a/Jong_10.jpg" data-mid="190041621" border="0" data-scale="44" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/7939a71151d11562bae9de31601682196f279c6405ea1504c2a7f9d8bdeaaf9a/Jong_10.jpg" /> Swipe to see more images I'm curious to learn more about specific works, especially Room Drawing (Found Objects #1) from 2018. This installation seems to incorporate a larger number of found objects compared to other works in the series. Could you share more about their origins? This installation was created in Japan in 2018 for an exhibition that was open for only ten days, with just one day allocated for the installation itself. Given the nature of my work, which typically demands more time on-site, I was faced with a dilemma. After giving it a thought, I decided to integrate those ten days of the exhibition into the artwork. Starting from the opening day, I began adding found objects to the installation, objects I had picked up each morning on my way to the gallery. It felt as if I were crafting a narrative over the course of the exhibition. The work evolved and displayed different characteristics each day, and the process itself became an integral part of the artwork, visible to visitors as they saw me working on it. It was a fascinating experience to witness the gradual accumulation of objects I collected daily, each contributing to its own evolving story. <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/df64b9a97e21c43f58923c9ad70dd492d220640e61e568c3ababaff251419f00/Jong_14.jpg" data-mid="190041793" border="0" data-scale="87" alt="Jong Oh, Room Drawing (found objects) #1, 2018. Tree branch, lock, umbrella parts, spring, rock, chain, flower, wire, earring, sea shell, marble, etc. Dimensions variable. Courtesy of Spiral Wacoal Art Center. Photo by Junpei Kato" data-caption="Jong Oh, &lt;i&gt;Room Drawing (found objects) #1&lt;/i&gt;, 2018. Tree branch, lock, umbrella parts, spring, rock, chain, flower, wire, earring, sea shell, marble, etc. Dimensions variable. Courtesy of Spiral Wacoal Art Center. Photo by Junpei Kato" src="https://freight.cargo.site/w/1000/i/df64b9a97e21c43f58923c9ad70dd492d220640e61e568c3ababaff251419f00/Jong_14.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/0a0c3cddc8e96aa217bf305f134dd627a7efdf8d979b8053eeeab7951c44319d/Jong_15.jpg" data-mid="190041801" border="0" data-scale="90" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/0a0c3cddc8e96aa217bf305f134dd627a7efdf8d979b8053eeeab7951c44319d/Jong_15.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/1e8be68dc47be6069e97f0bfd9953ec2c43c70df814389c39fc1aee3181c25bc/Jong_17.jpg" data-mid="190041804" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/1e8be68dc47be6069e97f0bfd9953ec2c43c70df814389c39fc1aee3181c25bc/Jong_17.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/2709b2c25492a57e4f8afe8f1923631c69fe99ef01c598a73281a45d25590387/Jong_16.jpg" data-mid="190041802" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/2709b2c25492a57e4f8afe8f1923631c69fe99ef01c598a73281a45d25590387/Jong_16.jpg" /> Swipe to see more images One intriguing aspect of the Found Gestures series is the recurring motif of chairs. Unlike other series that often feature abstract or geometric patterns, the Chair series appears to be one of the few in your body of work inspired by a specific object. Do you find yourself more inclined to explore and utilize various materials and colors, or are you more interested in deriving new outcomes using the same materials? The Chair series, to begin with, was a project I initiated while I was in Japan. It marked one of the early instances where I started incorporating found objects into my work. On the street I frequently walked during my time in Japan, there was always a substantial heap of discarded chairs. I would salvage some of these chairs almost daily, and that's how they found their way into my process. The bright green paint used in Pyramid—another work included in the series— was initially given to me by a friend during my undergrad, and the same applies to the stones, wood, and makeup brush featured in other works within the series. People I knew would casually provide me with these items, amassing them in front of my studio because they understood my working approach. I relish the problem-solving aspect of my work, in a sense. I enjoy assessing the materials I have at hand in a given situation, constructing a framework from them, and then discovering what new creations can emerge within those constraints. It's similar to how we navigate our lives with limited freedom. Creating a site-specific work within a designated space, when you think about it, imposes constraints and boundaries that cannot be altered. I derive satisfaction from gradually resolving these challenges on my own, which is fundamentally how I approach my art. Returning to the Chair series, it was a deliberate effort to explore the potential of generating something new from limited options and materials. This concept of limitation ties into the essence of sculpture as an artistic genre. To me, sculpture represents an unadulterated, honest medium, physically present without any optical illusions. Regardless of the specific material—whether it's wood or stone—there's always the need to grapple with gravity and weight, inherent conditions that demand a unique approach. <img width="2738" height="3380" width_o="2738" height_o="3380" data-src="https://freight.cargo.site/t/original/i/2c3afa3d39b0e248f27b6ff65c09e6c2d26f624429ba3b271c961971a56a9ae0/Jong_01.jpg" data-mid="190044855" border="0" alt="Jong Oh, Untitled 3(chair series), 2011. Wooden chair parts, paint. 41 x 34 x 28 cm (16 x 13.5 x 11 in). Courtesy of the artist" data-caption="Jong Oh, &lt;i&gt;Untitled 3(chair series)&lt;/i&gt;, 2011. Wooden chair parts, paint. 41 x 34 x 28 cm (16 x 13.5 x 11 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/2c3afa3d39b0e248f27b6ff65c09e6c2d26f624429ba3b271c961971a56a9ae0/Jong_01.jpg" /> <img width="1824" height="2500" width_o="1824" height_o="2500" data-src="https://freight.cargo.site/t/original/i/942229538be41c9dc2565449073758d1068575938d9b722d2c52878be16e2bc7/Jong_02.jpg" data-mid="190041859" border="0" data-scale="44" alt="Jong Oh, Untitled 2(chair series), 2011. Wooden chair part, string, shadow. 102 x 71 x 48cm (40 x 28 x 19 in). Courtesy of the artist" data-caption="Jong Oh, &lt;i&gt;Untitled 2(chair series)&lt;/i&gt;, 2011. Wooden chair part, string, shadow. 102 x 71 x 48cm (40 x 28 x 19 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/942229538be41c9dc2565449073758d1068575938d9b722d2c52878be16e2bc7/Jong_02.jpg" /> Swipe to see more imagesGeometric patterns are a recurring theme in your works. However, these patterns seem to bear the unmistakable mark of the artist's hand, such as the shaping of the grid or the curvature of the wire. Despite the fact that the majority of your work blends geometric forms with found objects, it doesn't convey an artificial or overly literal impression often associated with minimalist sculptures. To me, it possesses a more poetic quality. That is correct; I do make a deliberate effort to leave my work with a hint of a personal touch. While working with geometric shapes can sometimes result in a sense of cold, calculated precision, I have long aspired to imbue geometric art with warmth. For instance, even when I have the option to use black string, I intentionally begin with white thread and apply charcoal or dark paint to the surface by hand. Although it may be a subtle touch, it's my way of introducing a sense of warmth. I strive to avoid the overly weighty or literal style often associated with minimalism, preferring to maintain a sense of lightness and playfulness in my creative process. In Treeangle (2012), you took your work out of the traditional white cube gallery and into the public space of nature. I'm curious to learn about the inspiration behind using trees as your primary material and how working in a public setting differs from working within an enclosed space. I had the opportunity to work on Governors Island, located near Manhattan, just a 15-minute ferry ride away. Back when I was in New York, the island was quite undeveloped, with abandoned houses dotting its landscape. I was part of a residency program that allowed artists to utilize the island for their artistic projects. Treeangle marked my first venture into creating official public art, taking my work beyond the confines of the white cube gallery and into the open embrace of nature. Much like my approach to working with objects, I was eager to explore the possibilities presented by the natural environment and the presence of trees. I was intrigued by the strength and flexibility of trees, as well as their ability to securely hold strings taut from both ends. Certainly, working in a public space posed more constraints compared to the controlled environment of a gallery such as concerns about the safety of viewers and the potential impact on the natural surroundings. However, in the end, I found that the creative process itself mirrored my previous work in many ways. It all revolved around making the most of what we had at our disposal, navigating the possibilities, and solving the challenges that arose along the way. <img width="4000" height="2745" width_o="4000" height_o="2745" data-src="https://freight.cargo.site/t/original/i/09c248e57e96a49e6a41f2c2d0ffa5ea68c76b36c7913e1ddc9388902dac4fd2/Jong_06.jpg" data-mid="190088931" border="0" alt="Jong Oh, Treeangle 4, 2012. String, tree. 216 x 356 x 152 cm (85 x 140 x 60 in). Courtesy of the artist" data-caption="Jong Oh, &lt;i&gt;Treeangle 4&lt;/i&gt;, 2012. String, tree. 216 x 356 x 152 cm (85 x 140 x 60 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/09c248e57e96a49e6a41f2c2d0ffa5ea68c76b36c7913e1ddc9388902dac4fd2/Jong_06.jpg" /> <img width="3816" height="2436" width_o="3816" height_o="2436" data-src="https://freight.cargo.site/t/original/i/ccc1f82ea9d84a4398ad6399994dd38474f0e9204a5e31e8a946f2cd72cdbb87/Jong_05.jpg" data-mid="190041900" border="0" alt="Jong Oh, Centered, 2009. Wood, rock, string, nail. 76 x 350 x 40.5 cm (30 x 138 x 16 in). Courtesy of the artist" data-caption="Jong Oh, &lt;i&gt;Centered&lt;/i&gt;, 2009. Wood, rock, string, nail. 76 x 350 x 40.5 cm (30 x 138 x 16 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/ccc1f82ea9d84a4398ad6399994dd38474f0e9204a5e31e8a946f2cd72cdbb87/Jong_05.jpg" /> <img width="2542" height="3757" width_o="2542" height_o="3757" data-src="https://freight.cargo.site/t/original/i/68a0539a4e3456b79177ad32a1592294da8fefeb6a06b69d5da61f528fe89507/Jong_03.jpg" data-mid="190041898" border="0" alt="Jong Oh, Tugged, 2009. String, bicycle wheel, rock, metal wire piece. 61 x 152 x 5 cm (24 x 60 x 2 in). Courtesy of the artist" data-caption="Jong Oh, &lt;i&gt;Tugged&lt;/i&gt;, 2009. String, bicycle wheel, rock, metal wire piece. 61 x 152 x 5 cm (24 x 60 x 2 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/68a0539a4e3456b79177ad32a1592294da8fefeb6a06b69d5da61f528fe89507/Jong_03.jpg" /> Swipe to see more images Could you provide a brief overview of your new group show, off-site, which is set to open at Art Sonje Center in Seoul? off-site is a group exhibition that explores unconventional museum spaces beyond the main exhibition hall, utilizing areas like stairways, backstage, rooftops, and operational rooms. My work involves creating artwork along the stairways, spanning from the base floor to the ground floor. This space possesses a unique atmosphere, with various pre-existing structures and a glass wall allowing direct views of the outdoor surroundings. Given these characteristics, I aimed to create an installation involving light, similar to my approach in A Place Between Rhythm and Rhythm, fostering an organic interplay between the interior and the exterior. Depending on one's perspective and entry point, the artwork can either merge with or diffuse into the outdoor scenery reflected through the window. off-site is on view through Oct 8, 2023, at Art Sonje Center, Seoul. You can check out more information on:&nbsp;https://artsonje.org/en/exhibition/off-site/©&nbsp; 2023 Radar https://radarseoul.com/Jong-Oh-KOR Thu, 07 Sep 2023 12:51:37 +0000 Radar https://radarseoul.com/Jong-Oh-KOR 오 종 (b. 1981) “시적인 기하학” EN/KO Released on 8 Sep 2023Featured in ep. 1 ︎︎ 오종은 주어진 재료와 공간 속에서 미니멀하고 장소 특정적인 조각 및 설치 작업을 다루어온 작가이다. 시작과 끝이 명확하게 구획된 영역 안에서 작업한다는 것은 누군가에게는 제약이나 한계일 수도 있겠으나 오종에게는 이전에는 미처 생각지 못한 새로운 결과물을 도출 할 수 있는 계기와도 같다. 공간과 늘 조화를 이루며 한없이 세밀해보이는 그의 작업이지만, 그는 주로 순간의 감각과 현장과의 상호작용을 기반으로 즉흥적으로 작업에 임한다. 그는 서울과 뉴욕을 오가며 활동 중이며, 서울 아트선재센터(2023); 서울 성북구립 최만린 미술관(2022); 뉴욕과 서울 두산 갤러리(2021); 서울 송은아트 스페이스(2020); 카를수루에 ZKM 미디어 아트 센터(2019); 그리고 서울시립미술관(2018) 등을 통해 작업을 선보인 바가 있다. 그는 제20회 송은미술대상 우수상 수상자이다.&nbsp; 작년 성북구립 최만린 미술관에서 개최되었던 2인전&nbsp; 《사이의 리듬들》&nbsp;이후 어떻게 지내셨나요? 9월에 개막을 앞둔 전시들이 많은데, 주로 현장에서 작업을 하기 때문에 현장에 가기까지는 어떤 공간을 만날지 모르기 때문에 상상을 많이 하며 내고 있습니다. <img width="2857" height="4000" width_o="2857" height_o="4000" data-src="https://freight.cargo.site/t/original/i/c22bc527c87a03049df68c44e7c6f7189a5d3d26690291022fb574d399a8462c/Jong_20.jpg" data-mid="190045484" border="0" alt="오종, Room drawing (light) #1, 2023. LED 조명, 전선, 로프 와이어. 가변 크기. Courtesy of Choi Man Lin Museum" data-caption="오종, &lt;i&gt;Room drawing (light) #1&lt;/i&gt;, 2023. LED 조명, 전선, 로프 와이어. 가변 크기. Courtesy of Choi Man Lin Museum" src="https://freight.cargo.site/w/1000/i/c22bc527c87a03049df68c44e7c6f7189a5d3d26690291022fb574d399a8462c/Jong_20.jpg" /> <img width="2857" height="4000" width_o="2857" height_o="4000" data-src="https://freight.cargo.site/t/original/i/197c3c860b74837c5517af52dc3c58368e5275b6123a8d6a8074792827d01a42/Jong_21.jpg" data-mid="190045439" border="0" data-scale="43" alt="오종, Room drawing (light) #1, 2023. LED 조명, 전선, 로프 와이어. 가변 크기. Courtesy of Choi Man Lin Museum" data-caption="오종, &lt;i&gt;Room drawing (light) #1&lt;/i&gt;, 2023. LED 조명, 전선, 로프 와이어. 가변 크기. Courtesy of Choi Man Lin Museum" src="https://freight.cargo.site/w/1000/i/197c3c860b74837c5517af52dc3c58368e5275b6123a8d6a8074792827d01a42/Jong_21.jpg" /> Swipe to see more images 한 곳에 소속되거나 정착하지 않은 채 오랜 시간 활동을 해오셨는데, 최근 몇 년 간 작업하시는 데 있어 코로나의 영향을 많이 체감하셨나요? 영향이 있던 시기가 있었어요. 코로나 이전에는 집과 작업실 없이 떠돌며 지내곤 했는데, 코로나로 인해 한국에 정착하게 되었죠. 계획에 없던 일이긴 했지만, 오랜 시간 떠돌며 지내다 보니 규칙적인 생활 패턴이 없어져 어느 순간 여행에 쉼표를 찍어야겠다는 생각을 때마침 하던 시기였어요. 계획에 없던 정착이긴 했지만, 그를 계기 삼아 오래 전 가볍게 했던 작업들을 집중적으로 재개할 수 있었어요. 작은 크기의 수채화 작업과 &lt;Folding Drawing&gt; 시리즈처럼 말이죠. 그래서 결과적으로는 멈춰야 하는 시기에 되려 (코로나가) 좋은 방향으로 작용 했던 것 같습니다. <img width="4242" height="6111" width_o="4242" height_o="6111" data-src="https://freight.cargo.site/t/original/i/270fb80bfa7ece0de72867fbb6cfbe559eec9b31f80759405a0ec3d4a811e6b5/Jong_19.jpg" data-mid="190045457" border="0" data-scale="61" alt="오종, Folding Drawing #55, 2022. 나무 패널, 페인트, 금속 막대, 체인. 38 x 15.2 x 11.2 cm (15 x 6 x 4.4 in). Courtesy of the artist" data-caption="오종, &lt;i&gt;Folding Drawing #55&lt;/i&gt;, 2022. 나무 패널, 페인트, 금속 막대, 체인. 38 x 15.2 x 11.2 cm (15 x 6 x 4.4 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/270fb80bfa7ece0de72867fbb6cfbe559eec9b31f80759405a0ec3d4a811e6b5/Jong_19.jpg" /> <img width="1470" height="2000" width_o="1470" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b80393458054507d846da2b5ac53c89b647904857b1728fb28c7501680e46854/Jong_25.jpg" data-mid="190045448" border="0" alt="오종, Light of Seoul #8, 2023. 종이에 수채화와 흑연. 33 &times; 24 cm (13 x 9.5 in). Courtesy of the artist" data-caption="오종, &lt;i&gt;Light of Seoul #8&lt;/i&gt;, 2023. 종이에 수채화와 흑연. 33 × 24 cm (13 x 9.5 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/b80393458054507d846da2b5ac53c89b647904857b1728fb28c7501680e46854/Jong_25.jpg" /> <img width="1465" height="2000" width_o="1465" height_o="2000" data-src="https://freight.cargo.site/t/original/i/bcb93a87c0cf71854ed4ce0a3fcf179ac48422c6d5f890d3d4c9868dedf913f2/Jong_24.jpg" data-mid="190045450" border="0" alt="오종, Light of Seoul #6, 2023. 종이에 수채화와 흑연. 33 &times; 24 cm (13 x 9.5 in). Courtesy of the artist" data-caption="오종, &lt;i&gt;Light of Seoul #6&lt;/i&gt;, 2023. 종이에 수채화와 흑연. 33 × 24 cm (13 x 9.5 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/bcb93a87c0cf71854ed4ce0a3fcf179ac48422c6d5f890d3d4c9868dedf913f2/Jong_24.jpg" /> <img width="4020" height="5360" width_o="4020" height_o="5360" data-src="https://freight.cargo.site/t/original/i/d89fe7f88d8b0f2843d00bd643ac9b58b76cbb8f3a6ceafd1d0b066d3f60d396/Jong_23.jpg" data-mid="190045452" border="0" alt="오종, Light of Andratx #6, 2019. 종이에 수채화와 흑연. 30 &times; 23 cm (11.8 x 9 in). Courtesy of the artist" data-caption="오종, &lt;i&gt;Light of Andratx #6&lt;/i&gt;, 2019. 종이에 수채화와 흑연. 30 × 23 cm (11.8 x 9 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/d89fe7f88d8b0f2843d00bd643ac9b58b76cbb8f3a6ceafd1d0b066d3f60d396/Jong_23.jpg" /> Swipe to see more images 아프리카 서북부에 위치한 모리아타니아에서 태어나 스페인에서 어린 시절을 보내신 것으로 알고 있어요. 다양한 문화권을 오가며 자라면서 소속감이 없다는 것에 불안감을 느꼈던 적은 없으신가요? 워낙 어린 시절부터 잦은 이동에 익숙했던 듯해요. 태어나고 자란 곳도 외국이다 보니 소속감 없는 게 오히려 더 자유롭고 편했다랄까요. 예전에는 저의 이러한 배경이 작업과는 무관하다고 생각해왔고, 저의 다국적인 어린 시절이 제 작업의 해석을 한정적으로 규정짓는다고 느꼈었어요. 그러나 요즘 들어서는 어쩌면 제가 생각했던 것보다 많이 연결되어 있을지도 모르겠다고 느끼고 있습니다. 예를 들어 현재 하는 작업 대부분이 즉흥적으로 이루어지고 전시가 끝나면 폐기되는 방식인데요, 돌이켜보면 어렸을 때 잦은 이사를 하면서 제가 느꼈던 감정과 연결되는 것도 같기도 하더라고요. &nbsp;친구를 만들고 적응할 법하면 금세 또 떠나야 하는 게 반복되다 보니 뿌리를 내리는 게 두려웠던 것 같기도 하고요. (그런 기억들을) 의식을 하고 작업하는 건 아니지만 자연스럽게 연결이 되지 않았을까 싶어요. 공간 전체를 대상으로 하는&nbsp;&lt;Room drawing&gt;부터 신체와 비슷하거나 더 작아서 사람이 작품에 들어갈 수 없는, 따라서 일반적인 조각의 개념과 더 가까운&nbsp;&lt;Line sculpture&gt;에 이르기까지 다양한 유형의 연작들을 선보여 오셨어요. 공간에서 작업을 설치 할 때 어떤 점을 가장 염두에 두시나요? 어떻게 들리실지 모르겠지만 (웃음), 때마다 공간에게 물어보고 대화를 한다고나 할까요. 특정 장소를 향해 편한 마음으로 믿음을 가지고 편안하게 머물다 보면 대답이 들리는 듯한 느낌이 들어요. 사전 준비는 거의 없이 공간과의 균형을 맞춘다고 생각하고 작업에 임합니다. <img width="3011" height="4511" width_o="3011" height_o="4511" data-src="https://freight.cargo.site/t/original/i/4fc0946499305230a86b5d694335ef9af48276ebedd9822e28ed24bae496d7cc/Jong_18.jpg" data-mid="190045465" border="0" alt="오종, Line Sculpture #4, 2013. 나무, 페인트, 실, 플렉시글라스. 140 x 112 x 60 cm (55 x 44 x 23.5 in). Courtesy of the artist" data-caption="오종, &lt;i&gt;Line Sculpture #4&lt;/i&gt;, 2013. 나무, 페인트, 실, 플렉시글라스. 140 x 112 x 60 cm (55 x 44 x 23.5 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/4fc0946499305230a86b5d694335ef9af48276ebedd9822e28ed24bae496d7cc/Jong_18.jpg" /> <img width="2707" height="4000" width_o="2707" height_o="4000" data-src="https://freight.cargo.site/t/original/i/02fda0c4a1a937bdfc67b64f392bbd4bb433261e635a774548e6fd952ecd7311/Jong_12.jpg" data-mid="190045463" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/02fda0c4a1a937bdfc67b64f392bbd4bb433261e635a774548e6fd952ecd7311/Jong_12.jpg" /> <img width="2376" height="4000" width_o="2376" height_o="4000" data-src="https://freight.cargo.site/t/original/i/e1ebce2e65dd60143edf68bf8b36e25bb7a4f11bbafca78564ae3792fb791773/Jong_13.jpg" data-mid="190045464" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/e1ebce2e65dd60143edf68bf8b36e25bb7a4f11bbafca78564ae3792fb791773/Jong_13.jpg" /> <img width="4000" height="2596" width_o="4000" height_o="2596" data-src="https://freight.cargo.site/t/original/i/b0091bf96713c40db8d50a00b0b36f8b2baa8a2914b2977d56a9f6e3b1246900/Jong_07.jpg" data-mid="190045470" border="0" alt="오종, Reposition, Translocation, 2012. 실, 무게, 플라스틱 시트, 나무, 페인트, 못, 흑연, C-프린트. 가변 크기. Courtesy of the artist" data-caption="오종, &lt;i&gt;Reposition, Translocation&lt;/i&gt;, 2012. 실, 무게, 플라스틱 시트, 나무, 페인트, 못, 흑연, C-프린트. 가변 크기. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/b0091bf96713c40db8d50a00b0b36f8b2baa8a2914b2977d56a9f6e3b1246900/Jong_07.jpg" /> <img width="4000" height="3141" width_o="4000" height_o="3141" data-src="https://freight.cargo.site/t/original/i/e040a6df91f4fc01738da0211c1bd2d2810b37de513a5d4a07443f3b1bb156d1/Jong_08.jpg" data-mid="190045485" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/e040a6df91f4fc01738da0211c1bd2d2810b37de513a5d4a07443f3b1bb156d1/Jong_08.jpg" /> <img width="2924" height="4000" width_o="2924" height_o="4000" data-src="https://freight.cargo.site/t/original/i/7939a71151d11562bae9de31601682196f279c6405ea1504c2a7f9d8bdeaaf9a/Jong_10.jpg" data-mid="190045466" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/7939a71151d11562bae9de31601682196f279c6405ea1504c2a7f9d8bdeaaf9a/Jong_10.jpg" /> Swipe to see more images 구체적인 작업들에 대해서 살펴보고자 해요. 오브제들을 적극 활용하신다는 점은 익히 알고 있지만 &lt;Room drawing (Found objects #1)&gt;(2018)에서는 유독 많은 오브제들이 활용된 것으로 보이는데, 그 기원이 궁금합니다. 해당 작업은 일본에서 했던 전시였는데요, &nbsp;전시 기간이 열흘 정도로 매우 짧았어요. 설치 기간은 심지어 &nbsp;하루 뿐이었던 걸로 기억해요. 빠듯한 시간 안에 작업을 어떻게 완성해야 하나 고민하다 생각해 낸 방법이 전시 기간 자체를 작업 기간으로 삼는 것이었어요. 즉 전시가 시작된 날부터 매일 그 날 아침마다 길에서 주워 온 물건들로 작업을 완성해 나가기 시작한 거죠. 마치 하나의 이야기를 써 나가듯이 말이에요. 작품은 열흘 동안 매일 다른 모습으로 바뀌어 갔고 작업 과정 자체도 관객들이 함께 관람했습니다. 매일 모은 물건들이 쌓이다 보면 그 안에서 이야기가 생긴다는 점이 인상적이었던 경험이었어요. <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/df64b9a97e21c43f58923c9ad70dd492d220640e61e568c3ababaff251419f00/Jong_14.jpg" data-mid="190045471" border="0" data-scale="87" alt="오종, Room Drawing (found objects) #1, 2018. 나뭇가지, 자물쇠, 우산의 일부, 스프링, 바위, 체인, 꽃, 와이어, 귀걸이, 조개, 구슬 등. 가변설치. Courtesy of Spiral Wacoal Art Center. Photo by Junpei Kato" data-caption="오종, &lt;i&gt;Room Drawing (found objects) #1&lt;/i&gt;, 2018. 나뭇가지, 자물쇠, 우산의 일부, 스프링, 바위, 체인, 꽃, 와이어, 귀걸이, 조개, 구슬 등. 가변설치. Courtesy of Spiral Wacoal Art Center. Photo by Junpei Kato" src="https://freight.cargo.site/w/1000/i/df64b9a97e21c43f58923c9ad70dd492d220640e61e568c3ababaff251419f00/Jong_14.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/0a0c3cddc8e96aa217bf305f134dd627a7efdf8d979b8053eeeab7951c44319d/Jong_15.jpg" data-mid="190045472" border="0" data-scale="90" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/0a0c3cddc8e96aa217bf305f134dd627a7efdf8d979b8053eeeab7951c44319d/Jong_15.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/1e8be68dc47be6069e97f0bfd9953ec2c43c70df814389c39fc1aee3181c25bc/Jong_17.jpg" data-mid="190045474" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/1e8be68dc47be6069e97f0bfd9953ec2c43c70df814389c39fc1aee3181c25bc/Jong_17.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/2709b2c25492a57e4f8afe8f1923631c69fe99ef01c598a73281a45d25590387/Jong_16.jpg" data-mid="190045473" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/2709b2c25492a57e4f8afe8f1923631c69fe99ef01c598a73281a45d25590387/Jong_16.jpg" /> Swipe to see more images &lt;Found gesture&gt;&nbsp;시리즈 전반적으로 오브제가 많이 등장하는 느낌이에요. 의자가 모티프로 반복적으로 등장하며 다른 작업들에 비해 색채가 많이 가미된 점도 눈에 띄어요. 색채와 재료 선택에 있어 다양한 가능성들을 끊임없이 모색하는 편인가요? 아니면 비슷한 유형의 재료들로 새로운 결과물을 도출하는 것에 더욱 관심이 있으신가요? &lt;Found gesture&gt; 중 의자 시리즈는 일본에서 했던 작업으로, &nbsp;길에서 만난 오브제들을 활용한 시리즈의 초기 작업이에요. 당시 자주 오가던 길에 의자들이 한 무더기 버려져 있어서 틈날 때마다 모아두었다 활용하곤 했어요. 초록색이 등장하는 &lt;Pyramid&gt;(2009)도 대학원 시기의 작업으로&nbsp; 초록색 페인트를 친구가 줘서 선택한 색이었고, (시리즈의) 다른 작업에서 등장하는 돌과 나무, 화장 붓도 모두 길에서 줍거나 이런 저의 작업 방식을 알고 지인들이 나에게 준 물건들이에요. 저에게 상황마다 주어진 것들을 활용하여 일종의 틀을 만든 후, 그 안에서 제약을 두고 새로운 것을 만들어 나가는 걸 즐기는 편입니다. 자유가 제한되어 있다는 점에서 삶의 모습과도 닮아 있다고 생각해요. 공간 작업도 결국 제약이자 변화할 수 없는 틀인데, 그걸 하나씩 직접 해결해나가는 것이 결국 저의 작업 방식이라고 할 수 있겠네요. 의자를 활용한 작업은 오브제를 의자로만 제약을 두고 작업했을 때 무엇이 나올 지 궁금해서 했던 작업인 셈이죠. 제약이라는 건 결국 조각이라는 장르의 특성과도 이어진다고 생각해요. 조각은 착시 없이 늘 물리적으로 현존하는, 정직한 매체라고 느껴요. 나무든 돌이든 늘 무게와 중력이라는 불가분의 조건이자 제약 안에서 무언가를 해야한다는 점이 매력이라고 느낍니다. <img width="2738" height="3380" width_o="2738" height_o="3380" data-src="https://freight.cargo.site/t/original/i/2c3afa3d39b0e248f27b6ff65c09e6c2d26f624429ba3b271c961971a56a9ae0/Jong_01.jpg" data-mid="190045486" border="0" alt="오종, Untitled 3(chair series), 2011. 나무 의자의 일부, 페인트. 41 x 34 x 28 cm (16 x 13.5 x 11 in). Courtesy of the artist" data-caption="오종, &lt;i&gt;Untitled 3(chair series)&lt;/i&gt;, 2011. 나무 의자의 일부, 페인트. 41 x 34 x 28 cm (16 x 13.5 x 11 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/2c3afa3d39b0e248f27b6ff65c09e6c2d26f624429ba3b271c961971a56a9ae0/Jong_01.jpg" /> <img width="1824" height="2500" width_o="1824" height_o="2500" data-src="https://freight.cargo.site/t/original/i/942229538be41c9dc2565449073758d1068575938d9b722d2c52878be16e2bc7/Jong_02.jpg" data-mid="190045479" border="0" data-scale="44" alt="오종, Untitled 2(chair series), 2011. 나무 의자의 일부, 실, 그림자. 102 x 71 x 48cm (40 x 28 x 19 in). Courtesy of the artist" data-caption="오종, &lt;i&gt;Untitled 2(chair series)&lt;/i&gt;, 2011. 나무 의자의 일부, 실, 그림자. 102 x 71 x 48cm (40 x 28 x 19 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/942229538be41c9dc2565449073758d1068575938d9b722d2c52878be16e2bc7/Jong_02.jpg" /> Swipe to see more images &lt;Line sculpture&gt;이나&nbsp;&lt;Compo-site&gt;를 포함하여 공통적으로 그리드와 같은 기하학적인 패턴들이 등장해요. 하지만 그와 동시에 그리드의 변형이나 공간에서의 (작업) 위치를 보면 작가의 손짓이 많이 느껴진다랄까요. 기하학적 형태들과 오브제들의 결합임에도 불구하고 기계적인 공정이나 즉물적인 느낌보다는 어딘지 모르게 시적인 느낌이 드는 것 같아요. 맞아요, 손을 많이 쓰려고 노력해요. 기하학적인 형태로 인해 자칫하면 차갑게 보여질 수 있는 작업이지만, 따뜻한 기하학적 작업을 하고 싶다는 것이 저의 오랜 바람이에요. 검은 실을 써도 되는데 일부러 흰 실을 써서 표면에 페인트나 목탄 가루를 손으로 칠하는 방법을 쓰기도 하죠. 미세하지만 따뜻한 느낌을 더하고 싶거든요. 미국 미니멀리즘의 진지하고 기계적인 공정을 환기하는 느낌은 지양하려는 편입니다. 예술이라는 분야가 결코 쉽진 않지만 적당히 가볍고 즐기는 마음으로 임하고 싶어요. 다른 시리즈들이 주로 화이트 큐브 안에서 공간을 새로이 재해석하는 느낌이라면 뉴욕에서 대학원 재학하셨을 때 작업하신&lt;Treeangle&gt;(2012)에서는 설치 공간이 외부로 나오게 되죠. &nbsp;나무를 소재로 선택하신 이유도 궁금하고, 내부 공간에서 작업 할 때와 어떤 차이가 있었는지도 궁금합니다. 뉴욕 맨하탄에서 15분 정도 배를 타면 Governors Island라는 곳이 있어요. 지금은 개발이 되어 많이 바뀐 것으로 알고 있는데, 제가 뉴욕에 있을 당시만 해도 폐가만 있는 외딴 섬이었어요. 그곳에서 진행되는 레지던시 프로그램에 참여했을 때 작업한 공공작업이에요. 이 때 처음으로 화이트 큐브라는 내부 공간이 아닌 틀 너머의 자연, 즉 자연의 나무라는 이미 만들어진 구조 안에서는 어떤 작업을 할 수 있을지 고민하다 나온 &nbsp;작업입니다. 나무의 특성상 탄력이 있으니 실을 팽팽하게 잡아주는 특성을 이용해서 작업을 했어요. 외부에서 진행하는 공공 작업은 아무래도 파손이나 관객 안전 등 고려해야 할 요소가 많아 제약도 더 많기 마련이더라고요. 그러나 주어진 것들을 틀 안에서 어떻게 활용할 것인지, 그 가능성을 모색하고 해결하는 과정이라는 점에서 작업 방식은 결국 유사하다고 느꼈습니다. <img width="4000" height="2745" width_o="4000" height_o="2745" data-src="https://freight.cargo.site/t/original/i/af3f52875108a9b93acae7ea90d5073127e329fea97493aab4ce0230582a8980/Jong_06.jpg" data-mid="190088985" border="0" alt="오종, Treeangle 4, 2012. 실, 나무. 216 x 356 x 152 cm (85 x 140 x 60 in). Courtesy of the artist" data-caption="오종, &lt;i&gt;Treeangle 4&lt;/i&gt;, 2012. 실, 나무. 216 x 356 x 152 cm (85 x 140 x 60 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/af3f52875108a9b93acae7ea90d5073127e329fea97493aab4ce0230582a8980/Jong_06.jpg" /> <img width="3816" height="2436" width_o="3816" height_o="2436" data-src="https://freight.cargo.site/t/original/i/ccc1f82ea9d84a4398ad6399994dd38474f0e9204a5e31e8a946f2cd72cdbb87/Jong_05.jpg" data-mid="190045482" border="0" alt="오종, Centered, 2009. 나무, 돌, 실, 못. 76 x 350 x 40.5 cm (30 x 138 x 16 in). Courtesy of the artist" data-caption="오종, &lt;i&gt;Centered&lt;/i&gt;, 2009. 나무, 돌, 실, 못. 76 x 350 x 40.5 cm (30 x 138 x 16 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/ccc1f82ea9d84a4398ad6399994dd38474f0e9204a5e31e8a946f2cd72cdbb87/Jong_05.jpg" /> <img width="2542" height="3757" width_o="2542" height_o="3757" data-src="https://freight.cargo.site/t/original/i/68a0539a4e3456b79177ad32a1592294da8fefeb6a06b69d5da61f528fe89507/Jong_03.jpg" data-mid="190045480" border="0" alt="오종, Tugged, 2009. 실, 자전거 바퀴, 돌, 금속 와이어 피스. 61 x 152 x 5 cm (24 x 60 x 2 in). Courtesy of the artist" data-caption="오종, &lt;i&gt;Tugged&lt;/i&gt;, 2009. 실, 자전거 바퀴, 돌, 금속 와이어 피스. 61 x 152 x 5 cm (24 x 60 x 2 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/68a0539a4e3456b79177ad32a1592294da8fefeb6a06b69d5da61f528fe89507/Jong_03.jpg" /> Swipe to see more images 이번 서울 아트선재센터에서 열리는 단체전 《off-site》에서 선보이실 작업들에 대해 소개 부탁 드려요. 《off-site》는 미술관의 메인 전시관이 아닌 무대 뒤, 기계실, 계단 혹은 옥상과 같은 일종의 남은 공간들을 활용하는 전시입니다. 저는 지하에서부터 지상으로 연결되는 계단들을 배경으로 작업하게 되었는데요, 구조물도 많고 통 유리로 인해 외부 공간이 바로 보여 특색이 강한 곳이에요. 보일 듯 말 듯한 미세한 작업보다는 《사이의 리듬들》에서 선보였던 것처럼, &nbsp;조명 작업을 하면 공간과 유기적인 소통이 가능해질 수 있을 것 같다는 생각을 했어요. 시선과 동선에 따라 미술관의 외부 풍경과도 맞닿고 흩어지는 작업입니다. 《off-site》는 10월 8일까지 서울 아트선재센터에서 개최된다. 더 많은 정보는 다음 사이트를 통해 확인 가능하다:&nbsp;https://artsonje.org/en/exhibition/off-site/©&nbsp; 2023 Radar https://radarseoul.com/Lee-Eunsil Wed, 30 Aug 2023 16:02:52 +0000 Radar https://radarseoul.com/Lee-Eunsil Eunsil Lee (b. 1983) “Layered on egos” EN/KO Released on 8 Sep 2023 Featured in ep. 1&nbsp; ︎︎ EUNSIL LEE’s distinctive Korean traditional paintings have garnered substantial acclaim for their audacious and animalistic portrayal of human desires.&nbsp;Recently, her interest has pivoted toward a wide range of themes, spanning from space and time dimensions to various psychological states of contemporary individuals. Her paintings have been featured at various prestigious venues, including P21, Seoul (2022); UARTSPACE, Seoul (2019); SongEun ArtSapce, Seoul&nbsp; (2019); Doosan Gallery, New York (2016); Leeum Musem, Seoul (2014); Project Space SARUBIA, Seoul (2010); and Alternative space pool, Seoul (2009). &nbsp; <img width="3000" height="1356" width_o="3000" height_o="1356" data-src="https://freight.cargo.site/t/original/i/8b6a7c125370742c30dd835a6113e9f800b1b0283cb89364380f1aa1c85a9f59/02.jpg" data-mid="189611132" border="0" alt="Eunsil Lee, Unstable Dimension, 2021. Colors and ink on Korean paper. Triptych: 244 x 540 cm (96 x 212.6 in). Courtesy of the artist" data-caption="Eunsil Lee, &lt;i&gt;Unstable Dimension&lt;/i&gt;, 2021. Colors and ink on Korean paper. Triptych: 244 x 540 cm (96 x 212.6 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/8b6a7c125370742c30dd835a6113e9f800b1b0283cb89364380f1aa1c85a9f59/02.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/df4c19f73ae8c6d6e561d88453cb71b0ee955b6bf4af9f754f45c19046c785de/03.jpg" data-mid="190175602" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/df4c19f73ae8c6d6e561d88453cb71b0ee955b6bf4af9f754f45c19046c785de/03.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/1eddc1d9ac240296e6d5d84f20f18524919be1d30c33efdafa0e384d2220f7a8/05.jpg" data-mid="190181884" border="0" alt="(detail)" data-caption="(detail)" src="https://freight.cargo.site/w/1000/i/1eddc1d9ac240296e6d5d84f20f18524919be1d30c33efdafa0e384d2220f7a8/05.jpg" /> Swipe to see more images In 2022, you participated in the group exhibition Korean Traditional Painting in Alter-age at the Ilmin Museum of Art. I recall that your work was shown amid many other young Korean ink painters, who were mostly born in the 1990s. I’m curious to hear what your impression was. I found their work intriguing since they appear to be more 'unruly’ in their own unique way compared to the previous generation of artists. I view this as a positive development,&nbsp; signifying the diversification of methodologies and artistic practices within the realm of Korean painting. Various traits they have displayed in the exhibit illustrate the potential for further growth and evolution. <img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/ebe50d8ddb909bb25ed122e6a41a6d85053c8576609ca2acdc6e3e475b0d0e78/11.jpg" data-mid="189630257" border="0" alt="Installation view of Korean Traditional Painting in Alter-age at Ilmin Museum of Art, Seoul, 2022. Courtesy of the artist" data-caption="Installation view of &lt;i&gt;Korean Traditional Painting in Alter-age&lt;/i&gt; at Ilmin Museum of Art, Seoul, 2022. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/ebe50d8ddb909bb25ed122e6a41a6d85053c8576609ca2acdc6e3e475b0d0e78/11.jpg" /> The composition of your two recent paintings, The root of suffering (2022) on view at Ilmin Museum of Art (2022) and Unstable Dimension (2022) on display at your solo exhibition, UNSTABLE DIMENSION at P21 (2022) is intriguing. They seem to be a culmination of the themes and motifs you have so far explored, including architecture, male genitalia, and waterfall. Could you please elaborate on these two works? These two pieces delve even deeper into the complexities of mental disorders that afflict modern individuals within intricate social structures. They touch on themes such as stress, anxiety, vaping, bipolar disorder, lethargy, depression, nervous breakdowns, obsessive-compulsive behavior, and multiple personality disorder. Within these works, one can recognize imagery that conveys the tension caused by these mental afflictions; they are presented in a state where one does not have any clear solutions, while facing pressures both internally or externally from family, and so on. In this context, the disassembled and floating body parts depicted on the canvas symbolize the intricate psychological states of distorted humanity, pain, trauma, and rage. The cross-section of the dissected brain serves as a representation of the contradictory and dual nature of the human mind. I aimed to depict obscure and complex emotions and circumstances. The images of portals leading to other dimensions imply the existence of alternate realities. The psychological states of compulsion and mental division also undergo transformation into altered architectural structures. The unfinished architectural elements symbolize the imperfections that characterize our lives. I noticed that you have been consistent with using jangji* as a main material throughout your&nbsp; entire career. Is there any particular reason behind it? From the very beginning, I've been immersed in the world of jangji, and in many ways, my artistic themes align perfectly with this medium. I also believe there's still countless techniques and expressions yet to be explored with jangji&nbsp;paper. While some may consider sticking to just one particular material somewhat dated, I haven't fully mastered even this single medium. That is why I prefer to continue using it. *Jangji refers to a form of traditional Korean paper made from bark of the mulberry tree as its base ingredient. <img width="1984" height="6720" width_o="1984" height_o="6720" data-src="https://freight.cargo.site/t/original/i/f809225db421ec610f941440905a1ec1e9757715f4c3ea83d7129cb3b40390a9/08.jpg" data-mid="189630192" border="0" alt="Eunsil Lee, Barely, 2018. Colors and ink on Korean paper. 150 x 45 cm (59 x 17.7 in). Courtesy of the artist" data-caption="Eunsil Lee, &lt;i&gt;Barely&lt;/i&gt;, 2018. Colors and ink on Korean paper. 150 x 45 cm (59 x 17.7 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/f809225db421ec610f941440905a1ec1e9757715f4c3ea83d7129cb3b40390a9/08.jpg" /> <img width="7761" height="4304" width_o="7761" height_o="4304" data-src="https://freight.cargo.site/t/original/i/3e6b26fea5dd153b9887f08e8af080a8c0460f61cae26cd3aaa475d16c7ff528/10.jpg" data-mid="189630189" border="0" alt="Eunsil Lee, Waves of delusion Ⅰ, 2021. Colors and ink on Korean paper. 117 x 210 cm (46 x 82.7 in). Courtesy of the artist" data-caption="Eunsil Lee, &lt;i&gt;Waves of delusion Ⅰ&lt;/i&gt;, 2021. Colors and ink on Korean paper. 117 x 210 cm (46 x 82.7 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/3e6b26fea5dd153b9887f08e8af080a8c0460f61cae26cd3aaa475d16c7ff528/10.jpg" /> <img width="3840" height="4776" width_o="3840" height_o="4776" data-src="https://freight.cargo.site/t/original/i/332b849c181e588b85d00439655ffdb90c9be8ab3ef231dcace1e885e36e644a/01.JPG" data-mid="189630244" border="0" alt="Eunsil Lee, The lonelist, 2013. Colors and ink on Korean paper. 161.5 x 129.5 cm (63.6 x 51 in). Courtesy of the artist" data-caption="Eunsil Lee, &lt;i&gt;The lonelist&lt;/i&gt;, 2013. Colors and ink on Korean paper. 161.5 x 129.5 cm (63.6 x 51 in). Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/332b849c181e588b85d00439655ffdb90c9be8ab3ef231dcace1e885e36e644a/01.JPG" /> Swipe to see more imagesYour paintings feature layered imagery that often appears in intertwined, penetrated forms. Is it possibly due to your use of jangji&nbsp;paper and Korean ink? How does your choice of materials contribute to the overall composition of your work? That particular aspect of my work is tied to the concept of dimensions. Given the inherent complexity of visualizing the fourth or fifth dimension, I wanted to show how dimensions can transcend these conventional limitations. Often, the images of dimensions that we encounter are often products of our minds. Even from a scientific perspective, visualizing dimensions as concrete images remains a challenge. Therefore, I prioritize creating a sense of transparency on the surface, which aligns perfectly with the medium I employ, enabling me to create layered images. The technique of layering is linked to the passage of time and an exploration of an incomplete existence, where the self is torn apart by desire. Your earlier works often implied the theme of patriarchy, tradition and conservatism. Do these subjects continue to serve as important sources of inspiration for your current work? The disparity between the education I received and the actual reality of Korean society has always had a foundational influence on my work. Although I still closely observe and engage with the social structure, I would say that my perspective has evolved over time. In the past, I had a strong desire to scrutinize the society around me and shed light on issues that arose within. My current focus revolves around the study of human psychology, stemming from this initial interest. While I initially chose to depict the problems I could visually observe, I now prefer to look deeper into the root causes of these issues. In my upcoming works, I hope to capture the concept of intangible elements, including mental illnesses, that are often challenging to portray visually.&nbsp; Another intriguing aspect of your work is your interest in architectural motifs, including architectural framework in general, as well as Korean traditional houses.&nbsp;Yes, that is true. From the very beginning, my work has been influenced by architecture and the surrounding environment. I have always enjoyed reading books about architecture. In fact, I used to be so immersed in architectural books that I often preferred them over books about painting. I believe this fascination naturally led me to express certain ideas through the framework of architecture and the environment. Certain elements of traditional Korean houses, originally designed to symbolize conservatism and pre-modern remnants, serve as both metaphorical and symbolic objects in my work. At one point, I noticed the similarities between societal structures and the characteristics of space and architecture. This realization prompted me to incorporate these parallels into my artistic endeavors. My ongoing research into the structure of space and architecture aims to convey what lies beyond the visible external world. In addition to the figurative paintings we've discussed so far, your body of work also includes abstract paintings. Do your work processes tend to differ depending on the type of work?When I work on abstract paintings, my primary focus would be channeling various energies I feel, such as air or auras, for example. It’s about feeling the spiritual essence and dynamics of energy and perceiving the space I belong to. In contrast to figurative paintings, I find abstract works to be more challenging since it’s often unclear when I should stop or finish. Nonetheless, I generally enjoy working on them. While a significant amount of time is dedicated to wrestling with the initial sketch for figurative paintings, I find that I can enjoy the pure act of painting itself more with abstract ones. It's a process of rejuvenation for me.&nbsp; <img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/6ba67994c45fad248d1e1af9bf834b705d9cebea01204f1d480a36133b17ce51/14.JPG" data-mid="189924493" border="0" alt="Installation view of Coincidence at 1003-ho Chang gang Bldg, Seoul, 2013. Courtesy of the artist" data-caption="Installation view of &lt;i&gt;Coincidence&lt;/i&gt; at 1003-ho Chang gang Bldg, Seoul, 2013. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/6ba67994c45fad248d1e1af9bf834b705d9cebea01204f1d480a36133b17ce51/14.JPG" /> <img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/d385780d83f9d0bfd80abf2f28d190303244e1d018ebc40ece16887b55de2ba3/15.JPG" data-mid="190173435" border="0" alt="Installation view of Coincidence at 1003-ho Chang gang Bldg, Seoul, 2013. Courtesy of the artist" data-caption="Installation view of &lt;i&gt;Coincidence&lt;/i&gt; at 1003-ho Chang gang Bldg, Seoul, 2013. Courtesy of the artist" src="https://freight.cargo.site/w/1000/i/d385780d83f9d0bfd80abf2f28d190303244e1d018ebc40ece16887b55de2ba3/15.JPG" /> Swipe to see more images Your first few exhibitions took place in rather 'unusual' spaces that were quite different from the typical white cube. For instance, the office of the company's building for your solo exhibit Coincidence in 2013. Are there any specific factors you consider when selecting a venue? It wasn't necessarily a deliberate choice, but it may have seemed that way because my early exhibitions were held in various alternative spaces. However, the solo show in 2013 did hold a special significance for me in terms of the venue. I had to personally seek out a new exhibition space because the originally scheduled place became suddenly unavailable. As a result, the venue itself became a source of inspiration that influenced the composition of my paintings, incorporating a diverse array of scattered motifs. I decided to rent a conventional office space in downtown Sogong-dong to create an entirely unfamiliar setting for the show. At that time, most of the visitors were my beloved friends and acquaintances. The interactions and conversations we had during that period still personally hold a very special place in my memory. Eunsil Lee is currently participating in the group exhibition EROS on view at P21. The show runs through Oct 7, 2023. For more information, please visit:&nbsp;https://p21.kr/exhibition/EROS/©&nbsp; 2023 Radar