Gallery Lee & Bae, Busan
In Mi-Hei Her's artwork, most often printed on transparent film that covers the box. It easily shows and can read the fragments of the intimate diary of the past and the images of routine so we could see today of “it was”, as well as could see today of words that share with friends or neighborhood around directly or indirectly or today of neighborhood and street saw through the window.
Between of palimpsest — repeatedly erase and rewrote — and kaleidoscopic and between layering and juxtaposition, we could see the artist’s identity get lost in front of our eyes... It can count at the moment for each of these series for each of the works, 24, 49, 56, 48 or 82... Nevertheless these series could remain open. Obsessively, decisively, delicately and very lucidly ‘Her’ and Mi-Hei HER, seeking writer, continued to write and be written by depositing her crystal Pandora boxes on the floor or by affixing to the walls and sometimes on the windows. Also moving on, perhaps, from suffering to the experience...
Jang Hee-Jin has worked in a wide range of genres including painting, photography, and crafts. Her works feature “in-between landscapes” that she herself photographed such as those we often see between buildings and trees on an asphalt pavement. The adoption of such in-between scenes as the motifs of her works was triggered by her interest in digital media. Her art gives us an opportunity to meditate on the now indispensable digital mobile equipment that we have become so accustomed to, flashy video images projected from digital media, and naturally altered artistic media that has been influenced by such digital media.
At a glimpse, her canvas looks like a cold embossed aluminum plate that was produced at a factory. Her works are created through a process of applying tape at regular distances and delicately layering gouache on a canvas about 40-50 times. Then, only two colors (a fluorescent color and a non-fluorescent color) are applied to the in-between scenes mentioned above. The artist applies paints not to objects, the primary elements of her landscape, but to the empty spaces that appear between them, thereby enabling viewers to confirm the existence of the objects. The viewers may feel differences in color sensation, light, and shade in accordance with optical angles due to the uneven surface as well as a vibration and resonance of colors that are created by the two hues that either clash or are in harmony.
Her artwork is also poses philosophical questions concerning time and existence through canvases that seem as if they were produced at a factory and optical illusions in which objects are indistinguishable from their backgrounds. Her series such as A Space, Wind of Tree, and Sound of Wave completed by handwork over a long period of time, as if to sneer at the light-hearted images represented by advanced contemporary media, are hoped to provide an opportunity to rediscover the value of art pieces that are brought to perfection over a long period of time with labor-intensive work during an age that is flooded with easy-to-address media.
Miyuki Yokomizo has worked as a sculptor and has been particular about time, space and light, excelling at installations. However, at this time, what she tackles is a two-dimensional work. Although two-dimensional artwork is generally thought to be a painting of sorts, Yokomizo declares that hers is a sculpture. Even though it is a two-dimensional work, it is one of matter; a painting created by this method of making sculptures will be a sculpture. In the case of Yokomizo, it is rather an act of accumulation; of stacking up rather than of painting. It is the point where countless horizontal and vertical lines intersect. A work with colored lines overlapping each other, forming a mesh surface that contains time and creates new space. On its surface, there is a feeling of trembling air. At first glance, the surface seems ascetic, but when you see it from a short distance, rises of splashing paints reveal themselves and the surface becomes expressive. The impression of the work changes, depending on the long or short span of distance between the viewer and the work.
Putting oil paint on a single thread and hand-flicking that thread fixes the paint on a support, such as a canvas or paper. The thread shows the horizontal and vertical, the warp and weft, and the painting is knitted almost such as in the process of hand-woven fabric. On the surface, marked with traces of time and action, there are surprising numbers of accumulated lines. The act of just flicking the thread is reminiscent of the act of a nun. When that act and her own physicality overlap each other and respond, time of nothingness spreads and wraps her. It is neither fixing the image, nor drawing. It is neither using the brush, nor touching the screen. The traces of the action, called ”dialogue with nothingness”, are formed by accumulating an enormous amount of time, which eventually becomes the artwork. Indeed: it is her breath.