2015 True Painting 《Time Collector》

“In this era of unprecedented uncertainty, a time when the current generation can no longer build houses or pave land for the next generation, settling his life as an artist was not an unreasonable strategy for the artist KOH Changsun. As in the artwork titled ‹The blue moon which wants attention›, the sun rises and sets repeatedly in reality, while the existence of the moon remains unclear, but in the exhibition hall, the moon gets the attention, thus eclipsing the sun. The artist states that he pays attention to "Now and Here" in order to settle into the life of ‘Now and Here.’ In search of a place to moor a wandering wrecked ship, he is willing to make binoculars and tour the world. He will make paddles and give them to us. If we want them, of course.”   Written by Gu Jeong-hwa  

“The modern era has expanded the range of human experience as well as our visual scope, while becoming "a reduced world" as well. The form of the world which began to be developed through new mechanical devices is not audible. For now, it is perceived as 'a world of silence'. For a gigantic explosion of celestial bodies or the minuscule sound of insects or cells to reach the ears of humans, a special technology is required. However, technology incites humans to desire more things than technology can realize. Technology follows a path that can realize certain goals step by step, and also reveal deficiencies in the process. The development of sound effect technology has awakened the artist to the 'desire' for other forms of expression. "The discovery of a soundscape being developed by artist KIM Joon has a close relationship with this issue.”   Written by Im Tae-hun  

‘The composition of abstract paintings,’ which make concrete things abstract, is the artist's core production method. A scene of a forest with a view of amassed ropes, the stump of an old tree, a stack of empty planters, trash bags, and a sewage tunnel is not easy to understand, despite the detailed depiction of objects which fill up the whole screen. However, the overall scenery delivers a somewhat weighty feel that cannot be ignored, yet cannot be defined clearly. Even though the scenery does not exist in reality, most of the concretely depicted images look familiar, and their apparent occupation of a space - as if deserted or useless - provides a sense of loss and existence at the same time.” Written by Sin Hye-yeong

“Artist LEE Jiyoung has been producing artworks which tell of reality through the use of different media and expression methods. The reality is the circumstances of disasters, failure, and disintegration. Trivial and fragile objects which scatter or disappear easily or go unnoticed are fragments of the scenery of disaster, and they reveal the sentiment of collapse and failure realistically. That is, the condition and movement of trivial things, not the description of circumstances with words, are the sentiment of failure. Instead of delivering incidents, the artist describes and sculpts the world as it is. He pursues realism in a different way by staring into planes, instead of reorganizing fictions or using a documentary method. As delicate images form a jungle on an unstable screen, the quiet moments depicted in the painting stir up the reversal of images.”   Written by Kim Hae-ju  

“Artist LEE Changhoon builds up a space left only with a pointer on a blackboard as he repeatedly writes and erases letters which symbolize his intentions. These markers are based on a very direct and simple causality, but due to the reason, the symbols evoke rich and complex sentiments, rather than an abstract meaning. The symbols have a closer relationship with the body of the person who makes them, so they are much more concrete than general symbols that resort to ideas.”   Written by An So-hyeon  

“In ‹Garden of Tesseract›, no unknown plant goes unnoticed. Garden of Tesseract was created by adding the concept of a romantic garden to a physiological concept called 'Tesseract', which is a four-dimensional analog of the cube, but it does not offer the comforting feel we commonly get from a beautiful garden. The signposts which lead us to the garden are: ‘Arranged Coordinates’, ‘Unstable Rules’, and ‘A Shaky Place.’ The subtitles of this series, which consist of installations and videos, are standing on spots along an inconvenient journey in search of something incessantly. ‘Relationship’ and ‘Memories’ are the foundations of continuous work for the artist, but such memories do not seem to lead to happiness. Past memories, which summons the ‘Now & Here' and ‘Me,’ are open to adventures that go beyond the four dimensions and scientific time, but the shapes of memories realized by the artist resolutely betray such expectations. Helpless humans who are forced into autistic self-initiated movements under strict regulations, or humans who cannot even belong to marginal space--are the sceneries of our long-awaited garden. Whether we decide to enter or pass by is our sole choice.”   Written by Kim So-won  

“Artist CHUN Eun pays attention to the issue of recognizing the senses, including the vision system. The ‘Bird & Umbrella’ series describes the process of forming images while interacting with objects through a Foley Artist, which reproduces a specific sound in radios or movies. The poly tool, which is used to amplify the sound of footsteps through sound effects and sound tunnels or through the gestures of the effects man allows the visualization or production of sound through visual stimuli. The discrepancy between visible and invisible things may begin from inside the brain, rather than on the retina. In an era when the empowerment of sight through the eyes - an optical medium - dominates, the art of artist CHUN Eun poses a question about what the genuine awareness process is, and his imagery works consisting of sensuous elements, such as auditory or tactile senses, reach beyond the purely visual sense.”   Written by Chae YeongChae Young    

“Artist JEONG Heejeong applies artificial manipulation to photos of scenery and intricately mixes actual scenes with his manipulated scenes. At times, he places the other side of the ambiguous scenes he creates in his photos on canvas. Consequently, the reality-based scenes he depicts surely look quite unrealistic and disturbing. JEONG Heejeong's “sceneries” intersect the scenery of unjust reality and an unrealistic world superbly. The sceneries he depicts no longer look like a wholesome space. It is because they describe contradictions and fractures in a condense way, like sceneries reflected in a broken mirror.”   Written by An So-yeon