The title of this exhibition comes from
painting The Closed Circle(2015)
which was one of a series that narrowed the scope of the subject to focus on
individual death in the family since the solo show Relics in their Integrity(2014, 2015) which asked about the
individual's social role or historical location. It is used in the sense of a
small group of individual beings that cannot be escaped from the certain family
fate. The paintings of the Relics in
their Integrity exhibition were mainly composed of various objects
abandoned on the beach or the quay side in the background of the sea, and I also
use similar objects in the series of Undecidable
and Nondiscardable.
The main difference from the previous work
of using marbling pattern as a confrontation with reality is that I have begun
to draw a strange composition with real life objects. These changes were made
using mural painting as a sketch, which naturally influenced the composition of
the painting. I used to solve most of the formal problems by the dichotomous
opposition, such as the intrusion of unrealism in the reality or conflict
between richness and poverty. In recent works, however, I have tried to express
the issues in more neutral ways as internalizing the structures of concrete stories.
In the Undecidable
and Nondiscardable series, various objects abandoned in the night forest
and in the sea stand out. These are very ordinary and inconspicuous minor
rubbish including plastic bags and firewood left over by tourists, old blankets
and vinyl boulders covering the soil and fertilizer at the farms or
construction sites, netting and rope piles used by fishing boats, Styrofoam
used to be buoys on the sea, and etc. Though they are not impressed at all if
they are not observed carefully, each shape contains the unique qualities of
things. Objects seem like ghosts floating away from each other because these
independently collected forms are gathered into one scene, but I draw them into
a dark space, point out their place, distribute their roles, and try to weave
into monumental shapes or unrealistic landscapes. I make a big structure by
using accidental natural forms. At this time, the night view, which integrates
and re-divides the canvas, becomes a leading device that interferes with the intuitive
assertion of the concrete composition.
The frequent appearances of several
objects, such as nets, ropes, and Styrofoam, reveal that I am captivated by
these forms, but I wanted to create unfamiliar formal conditions in such a way
as to exaggerate or reconfigure the realistic characteristics of the objects.
My memories and emotions are put into these materials, but in the process of
combining them, I try to find the balance of the painting by placing objects
with an objective eye. It is in the same context that attempts to obtain a
formal logic from the defenseless contingency itself of such objects, while
starting from the daily routines, places, and memories, and interpreting them
subjectively. This exhibition was intended to show the relationship between the
individual and the family as a single landscape throughout the space.