Critic's Note: What is consistent about Jeong’s passionate work, from the beginning until the present, is her positioning of space at a boundary between the visible and the invisible. In that sense, gazing and understanding can't equate with that of Alberti's work. While the latter's space can be interpreted as a boundary of visible objects, Jeoung’s very much leans toward a boundary of the invisible. Emphasizing a cross between the light and dark in Vermeer’s work, or adding Chirico's space, Jeong uses space to exhibit mute-layered aspects. But her work not considered a reproduction of work by old masters.
In summary, one could say she treats the boundary between the visible and the invisible in a pictorial way. Here, the intangible can be explained in two different ways. One is the motive behind presenting and retaining objects. Without motives, objects would not exist. In this context, what we see are objects, not space. When one sees the space, one sees the boundaries enveloping the visible. From another aspect, the invisible includes: tiny objects like microbes and atoms; something immense like the universe; mysterious concepts like something spiritual; as well as objects that are deeply inherent or transcendent.
Jeong's space is not like Alberti's, where common objects are elaborately positioned. Her work has space where myths breathe. Jeong borrows the familiar and positions them on the boundary of the invisible, separating them from the boundary of the visible where they never existed. By doing so, Jeong allows one to see objects from the boundary of the invisible. Objects like: apples, chairs, candlelight, light, darkness, and finally an architectural innerterior are displayed. The final result is a boundary of the Sublime.
Collection: Kumho Museum of Art
Artist's Education: Hongik University. Seoul, Korea. Completed Doctoral Course in Fine Arts.