<POWDER>
Arang Choi 최아랑
HaSeulLin Jeong 정하슬린
Hannah Hyun Jeong 정현
July 11 - August 8, 2024
Gallery Kiche, Seoul
갤러리 기체, 서울
“The finest qualities of our nature, like the bloom on fruits, can be preserved only by the most delicate handling.” 『Walden, or Life in the Woods』, Henry David Thoreau
When both sunlight and humidity have ripened this summer, KICHE presents POWDER, an exhibition introducing three artists: HaSeulLin Jeong, Hannah Hyun Jeong, and Arang Choi. “Powder,” meaning “fine, dry particles” or “something unique,” takes reference from the above quote found at the beginning of Henry David Thoreau’s book, Walden. The book is an essay of the philosopher’s records of the two years spent on a lakeside in the woods in search of the essence of life. Thoreau takes it upon himself to live with minimal expenses and possessions, and while being in the midst of nature alone, he records what he encounters every day – morning, day, and night. Surrounded only by nature, he drastically simplifies his life and constantly examines his ego or the hidden gist of life. In the early works, the artists reveal their unique interests and expression methods in detail, like the white powder on ripening grapes. Similarly, POWDER introduces the three artists who are now starting their artistic journeys and presents their works that translate their inner worldviews and experiences into unique tastes and scents that come to fruition.
Working with the question “What can a painting that is between image and material do?” HaSeulLin Jeong is interested in paintings that allow the viewer to infer the invisible working processes of a completed work. At the same time, she also continues her formative experiments with non-traditional media outside of painting, such as ceramics, illustrations (embroidery designs), and cooking. As a result, the artist cooks by creating her own recipe using the ingredients and conditions of painting, decorates the table, and presents her work as if she is preparing a meal. To her, the canvas is a space where work is done, a medium that connects the past and the present, art and daily life, and herself and others. At the same time, it is also a platform to find the (material) balance in its taste by creating layers and harmony with various painting materials and conditions such as color, brush strokes, and patterns.
Hannah Hyun Jeong projects the spectrum of emotions entangled in experiences and memories latent in the unconscious into misty and symbolic moments, as if walking on a dreamlike road. The artist’s personal, intimate childhood experiences form the basis of the narrative and tone of the staged scenes. Fairytale-like “innocence” and “wonder” seep through her works. To this effect, the artist gives imaginary animals and plants, as well as common objects and places such as vending machines, fruit, flashlights, mirrors, beads, ships, letters, etc., intentional typicality. In a sense, this reflects the artist's intention to portray subjective thoughts and archetypal emotions such as joy, sadness, anxiety, loss, longing, and anger through symbolic gestures and portrayals that transcend cultural or linguistic differences as done in pantomime that requires eliminating the unnecessary as much as possible.
Arang Choi uses animism, an idea that not only living things such as animals and plants but also places and objects have their own spiritual essence, as the basis for her work. She captures our general understanding of existence through paintings that intersect unfamiliarity and empathy and questions our knowledge and perception. She mainly records rare animals and plants that she comes across in documentaries of nature or walks, using photos or drawings and captures them in her work. Based on these, the artist creates a dreamlike stage where things that can be defined and things that cannot be defined can mysteriously coexist by giving them their own physical laws, vegetation, and climate. And on this stage, “Emulb,” a mixed-shaped life form named after the German word for flower, “blume” written backwards, repeatedly appears while changing its form. This heterogeneous configuration, anthropomorphized and endowed with mystery, possesses the properties of gas and liquid at the same time, and is an entity that constitutes both a part and the whole. In other words, her world is not fixed in one quality or shape but constantly flows.
I cannot take on people who are not me, and it's difficult to continue taking on things that are not me. The work’s evolution is influenced by the environment, but it all starts with the artists themselves. The three artists are reconstructing the world with their unique narratives and methods of expression.
Arang Choi 최아랑
HaSeulLin Jeong 정하슬린
Hannah Hyun Jeong 정현
July 11 - August 8, 2024
Gallery Kiche, Seoul
갤러리 기체, 서울
“우리 인간의 본성에서 가장 좋은 자질은 과일의 분과 같기 때문에 아주 조심스레 다뤄야만 보존이 가능하다.” _ 『월든』 헨리 데이비드 소로
기체는 햇빛과 습도가 동시에 농밀해진 여름 전시로 정하슬린, 정현, 최아랑 세 작가를 소개하는 《POWDER》전을 연다. ‘분(粉)’, ‘고유한 것’을 의미하는 ‘powder’는 헨리 데이비드 소로의 책 『월든』의 서두에서 발견한 위의 문장에서 가져왔다. 책은 사상가인 헨리 데이비드 소로가 삶의 본질을 찾아 숲 속 호숫가에서 지낸 2년 남짓의 자급자족생활을 기록한 에세이다. 소로는 최소한의 비용과 물건들로 살기를 자처하며 자연과 홀로 대면하면서 아침과 낮, 밤 하루하루 마주하는 것들을 기록한다. 그는 오롯이 자연에 둘러싸여 생활을 극단적으로 단순화하고 자아 혹은 가리워진 삶의 본질을 끊임없이 자문한다. 작업활동 초기 이미지들에는 마치 익어가는 포도송이에 하얗게 핀 ‘분’처럼 고유의 관심사와 표현 방식이 구체적으로 드러나기 마련이다. 전시 《POWDER》는 이제 본격적인 활동을 시작하고 있는 세 작가가 그들 내면을 이루고 있는 세계관이나 경험들이 작품 안에서 어떻게 고유한 맛과 향으로 녹아 들어 열매 맺는지 소개한다.
정하슬린은 ‘이미지와 물질 사이에 있는 회화가 어떤 것을 할 수 있을까?’라는 물음을 바탕으로 감상자가 완성된 작품의 보이지 않는 작업과정을 유추할 수 있도록 하는 회화에 관심을 가진다. 또 도자기, 일러스트(자수 도안), 요리 등 회화 밖의 비전형적 요소들로 조형 실험을 이어가고 있다. 이로써 작가는 화화의 재료와 조건들로 자신만의 레시피를 만들어 요리하고, 식탁을 꾸며 음식을 차려내듯 작품을 내놓는다. 그에게 캔버스는 작업이 이뤄지는 공간이면서 과거와 현재, 예술과 일상, 나와 타인을 잇는 매개이자, 색, 붓질, 패턴 등 갖가지 회화의 재료와 조건들로 층층의 맛을 내고 조화를 이루도록 맛의(조형적) 균형점을 찾는 플렛폼이다.
정현은 무의식에 잠재해 있는 경험과 기억들에 얽힌 감정의 스펙트럼을 마치 꿈 길을 걷듯 몽환적이고, 상징적인 장면에 투영한다. 어린 시절 작가가 겪은 개인의 내밀한 경험은 무대 장면들의 서사와 톤을 이루는 밑바탕이다. 동화적 ‘순수’와 ‘경이’는 작품 전반에서 주조를 이룬다. 상상의 동식물 그리고 자판기, 열매, 손전등, 거울, 구슬, 배, 편지 등등 일반적인 사물이나, 장소는 의도된 전형성을 띤다. 이는 불필요한 것을 가능한 덜어내야 하는 무언극(pantomime)처럼 주관적인 생각과 기쁨, 슬픔, 불안, 상실, 그리움, 분노 등 원형적 감정을 문화나 언어적 차이를 넘어서는 상징적 몸짓과 장면으로 그려내고자 하는 작가의 의지를 담고 있다.
최아랑은 동물이나 식물 등 생명체 뿐 아니라 장소나, 사물에 이르기까지 저마다 영적 본질을 갖고 있다는 애니미즘(animism)적 사유를 작업의 밑바탕으로 삼고, 낯섦과 공감이 교차하는 회화로 존재에 대한 우리의 일반적 이해와 인식에 질문한다. 그는 주로 자연 다큐멘터리나, 산책 등에서 접하게 되는 희귀한 형태의 동물이나 식물들을 사진이나, 드로잉으로 기록하고 작업에 반영한다. 이들을 바탕으로 작가는 고유의 물리법칙, 식생, 기후를 부여해 정의 내릴 수 있는 것들과 그렇지 않은 것들이 오묘하게 공존하는 꿈의 무대를 그려낸다. 그리고 그 무대에는 꽃, 화초를 뜻하는 독일어 ‘blume’을 거꾸로 써 이름 붙인 혼합된 형태의 생명체 ‘에물브Emulb’가 형태를 바꾸거나 반복적으로 등장한다. 혼합된 형태 의인화되고, 신비로움이 부여된 이 생명체는 기체나 액체의 성질을 동시에 갖고 있으며, 개별의 개체 자체로 부분이면서 전체를 이룬다. 따라서 그의 세계는 하나의 성질이나, 형태로 고정되지 않고 유동한다.
나는 내가 아닌 사람을 취할 수 없고, 내가 아닌 것들을 지속해 가져가기 힘들다. 작업의 전개는 환경의 영향을 받지만, 모든 것은 작가 자신으로부터 시작한다. 세 작가는 각자의 이야기와 표현 방식으로 세계를 재구성하고 있다.
“The finest qualities of our nature, like the bloom on fruits, can be preserved only by the most delicate handling.” 『Walden, or Life in the Woods』, Henry David Thoreau
When both sunlight and humidity have ripened this summer, KICHE presents POWDER, an exhibition introducing three artists: HaSeulLin Jeong, Hannah Hyun Jeong, and Arang Choi. “Powder,” meaning “fine, dry particles” or “something unique,” takes reference from the above quote found at the beginning of Henry David Thoreau’s book, Walden. The book is an essay of the philosopher’s records of the two years spent on a lakeside in the woods in search of the essence of life. Thoreau takes it upon himself to live with minimal expenses and possessions, and while being in the midst of nature alone, he records what he encounters every day – morning, day, and night. Surrounded only by nature, he drastically simplifies his life and constantly examines his ego or the hidden gist of life. In the early works, the artists reveal their unique interests and expression methods in detail, like the white powder on ripening grapes. Similarly, POWDER introduces the three artists who are now starting their artistic journeys and presents their works that translate their inner worldviews and experiences into unique tastes and scents that come to fruition.
Working with the question “What can a painting that is between image and material do?” HaSeulLin Jeong is interested in paintings that allow the viewer to infer the invisible working processes of a completed work. At the same time, she also continues her formative experiments with non-traditional media outside of painting, such as ceramics, illustrations (embroidery designs), and cooking. As a result, the artist cooks by creating her own recipe using the ingredients and conditions of painting, decorates the table, and presents her work as if she is preparing a meal. To her, the canvas is a space where work is done, a medium that connects the past and the present, art and daily life, and herself and others. At the same time, it is also a platform to find the (material) balance in its taste by creating layers and harmony with various painting materials and conditions such as color, brush strokes, and patterns.
Hannah Hyun Jeong projects the spectrum of emotions entangled in experiences and memories latent in the unconscious into misty and symbolic moments, as if walking on a dreamlike road. The artist’s personal, intimate childhood experiences form the basis of the narrative and tone of the staged scenes. Fairytale-like “innocence” and “wonder” seep through her works. To this effect, the artist gives imaginary animals and plants, as well as common objects and places such as vending machines, fruit, flashlights, mirrors, beads, ships, letters, etc., intentional typicality. In a sense, this reflects the artist's intention to portray subjective thoughts and archetypal emotions such as joy, sadness, anxiety, loss, longing, and anger through symbolic gestures and portrayals that transcend cultural or linguistic differences as done in pantomime that requires eliminating the unnecessary as much as possible.
Arang Choi uses animism, an idea that not only living things such as animals and plants but also places and objects have their own spiritual essence, as the basis for her work. She captures our general understanding of existence through paintings that intersect unfamiliarity and empathy and questions our knowledge and perception. She mainly records rare animals and plants that she comes across in documentaries of nature or walks, using photos or drawings and captures them in her work. Based on these, the artist creates a dreamlike stage where things that can be defined and things that cannot be defined can mysteriously coexist by giving them their own physical laws, vegetation, and climate. And on this stage, “Emulb,” a mixed-shaped life form named after the German word for flower, “blume” written backwards, repeatedly appears while changing its form. This heterogeneous configuration, anthropomorphized and endowed with mystery, possesses the properties of gas and liquid at the same time, and is an entity that constitutes both a part and the whole. In other words, her world is not fixed in one quality or shape but constantly flows.
I cannot take on people who are not me, and it's difficult to continue taking on things that are not me. The work’s evolution is influenced by the environment, but it all starts with the artists themselves. The three artists are reconstructing the world with their unique narratives and methods of expression.
