with works by Rohwajeong, Hejum Bä, Jeongsu WOO, Heejoon LEE, and Eunsae LEE
Yunhee NOH and Hyunseok JEONG are the artistic duo behind RohwaJeong. The couple creates multimedia works ranging from installation to painting. Despite their collaboration, their differences in process can be located in each piece, making their body of work simultaneously unified and separate. Some ideas might be decided on and created immediately, while others may take several years of planning. Overall, Rohwajeong’s inspiration relies on mankind’s emotions, relationships, nature, and their personal experiences creating as partners.
Hejum Bä attempts to transfer motion onto a flat surface through a combination of color and brushstrokes. The artist's bold works integrate movement, weight and intensity rather than a particular subject. She draws inspiration from various iconography such as origami, sliced fruit, and fields of grass, amongst other objects. These subjects are then made abstract, becoming fundamentally still while also appearing to move against their shades and texture.
Jeongsu WOO creates black-and-white images depicting landscapes such as a raging ocean, billowing fields, or a rugged mountain range. Their stories leave an open ending for the figures captured in the setting. For example, ships are not yet destroyed by the towering waves that surround them, and yet they have not yet reached their destination. In this way, Woo’s cartoon-like works become more non-fiction than fiction, blending both humorous and disturbing sensibilities. The selected locations symbolize the artist fighting with something supposedly noble, or larger than life, revealing a deep truth about the chaos of modern society and the construed values that it promotes.
Heejoon LEE takes on the role of a flâneur, wandering around Seoul in areas that have experienced gentrification. The scenery that Lee captures is accumulated and compressed into layers rather than an overall landscape. He first sketches the collected sceneries onto picture-screens, zooming and cutting while fabricating colors. He then edits and arranges the individual frames into a grid. The arrangement of the paintings expand both horizontally and vertically until they fold or intersect. This process omits details and leaves something analogous, capturing the rhythm of the city as opposed to its details. Through this process, Lee aims to define the emotional distance between the familiar and unfamiliar, the ordinary and extraordinary. The different concepts within Lee’s works provide the viewer with an opportunity to utilize their unique imagination, thereby creating a new chain of narratives.
Eunsae LEE’s style is the gap between a representation of reality and sentimental expressions. In fact, the opposite of a painting based on reality is not abstraction, but an expression of emotions and the incarnated spirit. After all, painting is a zero-sum game between reality and the identity of a painter. We ought to read the changes in an attitude than in a formality from the painting. As a producer of a painting (image), the artist asks herself a question about the power she has and devotes her hands to a more moderate task. It is perseverance of thinking. LEE confessed that she, who intended to fight a reality in which social issues and women are objectified within the image, was also reproducing the same images and making aesthetic work. It is an introspective testimony that examines and looks at back the artist.