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2008-02-25 ~ 2008-03-05

Àü½Ã °ü°´ÀÇ ¹æ¹é (Aside of Audience) Àº Å©°Ô µÎ ºÎºÐÀ¸·Î ±¸¼ºµÈ´Ù. ÀÌ Àü½Ã¿¡¼­ º¸¿©Áö´Â ÀÛ¾÷µéÀº Çö½Ã´ë ±ºÁßÀ» °ü°´(κËÔ.Audience)À̶ó´Â À§»ó(êÈßÓ)¿¡ À§Ä¡½ÃÄÑ ³õ°í ±×µéÀÇ ¹æ¹é(Û¨ÛÜ)ÀÇ ¸ð½ÀÀ» º¸¿©ÁØ´Ù. ù ¹ø° ÀÛ¾÷Àº ½ºÅ©¸° ¾Õ¿¡ ¹«´ë°¡ ¼³Ä¡ µÇ¾îÀÖ´Â ºñµð¿À ¼³Ä¡ ÀÛ¾÷ ¡®°ü°´ÀÇ ¹æ¹é (Aside of Audience)¡¯ÀÌ´Ù. Àü½ÃÀåÀ» µé¾î¼± °ü°´Àº ¹«´ë¸¦ ÀºÀ¯ÇÏ´Â À§Ä¡¿¡¼­ ½ºÅ©¸° ¼ÓÀÇ ºñµð¿À ÀÛ¾÷À» ¹Ù¶óº¸°Ô µÈ´Ù. ¿µ»ó ¼Ó¿¡ µîÀåÇÏ´Â 100¸í¿¡ °¡±î¿î »ç¶÷µéÀÌ ¹Ì¼ú¿¡ ´ëÇØ Áú¹®À» ¹Þ°Ô µÇ´Âµ¥, ¼öÁýµÈ ´Ù¼öÀÇ °³ÀÎÀûÀÎ ÀÇ°ßµéÀº ÀÛ°¡µéÀÌ ½ÃµµÇÏ°Ô µÇ´Â ÀÇ°ßµéÀÇ Â÷ÀÌÀÇ Çؼ®°ú, ±×°ÍµéÀÇ ±³Á¡ÀÇ Àç¹èÄ¡¸¦ ÅëÇؼ­ º¸´Â ÀÌ¿¡°Ô Á¦½ÃµÈ´Ù. ´Ù¼öÀÇ »ç¶÷µéÀÇ º¸Æí¼º°ú, °³ÀεéÀÇ °³ÀÎÁö°¢ÀÇ Â÷ÀÌ, ±×¸®°í °³ÀεéÀÌ ±³Â÷µÇ¸é¼­ »ý°Ü³ª´Â ¼ÒÅë¿¡ ´ëÇÑ ÀǽÉÀÇ °á°ú¸¦ ÃßÀûÇÏ°í, ±× °úÁ¤°ú °á°ú¸¦ ¶Ç ´Ù¸¥ °ü°´ÀÎ ÀÛ¾÷À» º¸´Â ÀÌ¿¡°Ô »õ·Ó°Ô Á¦½ÃÇÑ´Ù.

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Chung Hye-jin's Cube, A Poetic Space Bringing Forth The Seed of Light ¡Ü "The topic of my works has been consistently the sympathy with nature'. This sympathy is not restricted by time and space in everyday life, like our endless breathing. This sympathy connotes a variety of lyrical and impressive feelings and memories in everyday life. In other words, this is an attempt to provide an existential meaning to human beings who are breathing and living."
First Encounter ¡Ü It was June 2004 when I first encountered with Chung Hye-jin's work. It was an art fair¡ª'Art Seoul'¡ªheld in an art center, Hangaram Design Museum. The catch phrase of the fair was 'an assembled booth-based private invitatory exhibition of young and promising artists at major art colleges.' Chung Hye-jin was one of the invited artists. In retrospect, her works were very impressive. Her basic colors were black & white, or light khaki. I met some rugged corn-like well-arranged lines on the surface of canvas of which black & white luminosity was in stark contrast at that time. That reminded me of a green tea patch far away or furrows fresh plowed. When I looked into them more closely, they were turned out to be numerous dots punctured. As her sayings at the outset, it was not difficult to find out the aroma of nature on the abstract painting-like canvas. It was seemingly because she derived her motives of work from her childhood memories. It can be a treasured memory of childhood, everyone may cherish, or a rural mood experienced in every vacation. Fortunately, she has enjoyed the benevolent influence of nature even to the time of university student. The furrows she encountered on the wayside of school route were enough to vivify the memory of her nostalgic childhood, thus being melted in her artistic works. "By way of paintings, I want to express the process of birth of life by sowing seed with a farmer-like mind and adding time and light to it."




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Titles of Works ¡Ü The title of works implies an artist's way of thinking. Therefore, the changes of title nuance or title itself can reveal the changes of an artist's thinking or sight. In case of Chung Hye-jin, the title of works has been gradually changed as well. The title of her 2004 private exhibition was 'A Field'. As mentioned above, this title of her first private exhibition was a rather outspoken expression of her way of thinking. She narrated her experience in a most frank and easy way of expression. However, the title of her second private exhibition in 2005¡ª'Illusion'¡ªwas rather comprehensive and macroscopic. This title connoted more than the simple meaning of a phantom. By observing not the minor details of nature but a more complete whole of it, her sight became more extensive. With the title of her 2006 exhibition¡ª'Monologue, she even expressed her 'interior soliloquy'. The pattern of furrows was playing a mere symbolic role, thus making canvas not only unrestraint but also stable and daring. On the other hand, the title of 2008 exhibition¡ª'Cube'¡ªis a somewhat changed one. If her former art of drawing paid attention to the formative visual element of furrows, now it symbolizes the seed sowed in the furrows. Thus, her art of drawing has been changed into a formative language that is concrete, symbolic and connotatively compressed. ¡Ü However, that the starting point of the themes of her artistic works is nature has been unchanged in her four private exhibitions. Although the title 'Cube' is seemingly strange, it implies a matured thematic consciousness of childhood. Her acts of punching a canvas imply a farmer's sowing of seed. A variety of shades of five-direction colors can be compared to the flow of time and season; the light shone through the punched holes can be compared to atmospheric natural light; and the final form of cube can be compared to the birth of new life. Thus, the works of this exhibition can be regarded as a most appropriate/concrete/concentrated nostalgia of nature she has cherished in the heart all the while. ¡Ü "Repetitive acts of puncturing make me access to a sort of inactivity, empty out the heart as if one studying and practicing the Zen meditation, and arrive at the mental state of composure. The acts induce conscious concentration and immersion, thus making get along with serene mind. In addition, the freedom from all ideas and thoughts intensifies the inner depth and space, resulting in the internal concentration of outward consciousness. Therefore, these repetitive acts make one experience an ecstatic world and a vacuum state in and around unconscious conceptions"




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The Meaning of Dots ¡Ü Buddhists regard bowing as a most important ascetic exercise. Although some say that there is an exercise effect in bowing down, its true effect is seemingly in that it can achieve the oneness of the ego and the non-ego through endlessly repetitive acts. There are many who practice 108 or even 1,000 bows in a row. However, there are few who practice 3,000, 6,000 or 10,000 bows in a row. Physical pain usually reaches the limits of patience with 2,000 bows. However, with some 3,000 bows, human body feels numbness. When it reaches some 5,000 bows, the boundary between body and mind is destroyed. In addition, with some 7,000 bows, one can reach the stage of observing his or her interior self. Chung Hye-jin's dot is not much different from Buddhists' ascetic exercise. Her dot is a small universe of condensed space, a starting point, or beginning. Upon passing by the narrow passage of dots, one can encounter an endless space enlarged. Thus, she commands a unique art of drawing that pursues both perfection and natural touches. ¡Ü One of the unique features of Chung Hye-jin's works is the means of producing dots. She punctures canvas not from the front to the rear, but from the rear to the front, with sharp-edged tools such as an awl. This reminds me of the rear side coloration, one of traditional coloring techniques of Oriental painting. With this technique, canvas is soaked with oozing-out colors from the rear to the front, thus tuning an artist's artificial act to canvas' natural response. In addition, this directivity, namely from the rear to the front, can be compared to the expansion toward endless future via the past and the present. In this vein, although the dots punctured from the rear to the front have the limit of plane canvas, they can reproduce a three-dimensional space. ¡Ü The rugged dots on the surface of canvas are close to the brush technique of rice-grain dot. This technique means to make tiny repetitive dots on canvas with a rice-grain putting or stacking method. In this regard, Chung Hye-jin's dots are similar to the germinating seeds distinctly popping out from the hardened earth. It looks like the moment when the sowed and dotted seed takes roots and brings forth new life in the sky. ¡Ü "The theme of this exhibition is 'Cube'. There is no inside, nor outside nor an entrance nor an exit in the space of Cube. An entrance can be an exit, and vice versa. It seems very complicate, but it is not in reality. By closely observing each fragment and examining the relationship between them, one can realize cubic thinking. And by focusing on the process of combining each fragment in a variety of ways, one can compose and generate a different image."
Dots and a Cube ¡Ü Chung Hye-jin's works in this private exhibition bear the shape of cube. Although the basic pattern is the repetition of small circles, the formless lines that penetrate the circles meet and make a square cube. In other words, all the basic figures in her works start with dots. Dots make a line and lines make a side and sides make a cube. In this vein, all the natural objects can macroscopically be a mere dot. Therefore, even a complicate object that bears a variety of shapes ultimately converges to a dot. Chung Hye-jin's cubic works in this exhibition express this law of nature in a very simple but shrewd manner. Chung Hye-jin's dots in this exhibition have become more cubical and closer to her interior self. Every outward shape is an assembly of tiny spaces. Although the shape is a two-dimensional plane, it bears numerous vanishing points that head for an endless space. At long last, Chung Hye-jin's cube is recurrence and circulation. In addition, her cube is a time capsule that bears traces and memories in the past, and a side dot of mind. The side dot of mind realizes its completion by way of light shone. As it emits the force of light, her cube reveals its true attractiveness. ¡á bu KIMYUNSEOB



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