Artist Statement: Night Holding Space Even at Night

The meta-approach to painting itself and the conceptual expansion of the Korean painting material are fundamental questions to produce endless avant-garde and sources of my work.

Night Holding space Even at Night

At dawn when all the lights are off, I often go up on the roof and look at the scenery of the mountains around me. As looking at the mountain scenery looming in the dark, the hidden sensitivity of vision is revived, and communion which cannot be done during the day begins. And in the space where the visible light disappeared between me and the mountain, a hidden infinite narrative in my unconscious is arisen.

In 2020, I began to summon nature in paintings, as feeling nostalgic for nature caused by social distancing. Most of the utopias depicted in Korean paintings contain nature. Since Korean aesthetics embodied in my mind, it is not a coincidence that nature has emerged at that time.

The Mother Nature, painted by mixing heavy body medium with black and white acrylic paints with a matière, has a body and appears in front of me as a real object. A thin layer of carbon black paint is applied over this flat object containing the still image. When darkness flows between the irregularities, time flows again, and the painting has the same status as mine.

This is the second part of “Grim Research”, following the first part of the painting study “The Summon Project” which records the time spent with summoned painting what participants want to face in person. And it is my answer about what the object called painting is at present.

Relate Exhibition : Night Holding Space Even at Night