페이지 정보Date. 2018.5.25 ~ 7.22
페이지 정보Place. 021gallery
At 11 p.m., before public transportation became out of service, Sejin Kwon got out of workroom and headed home. Bus stop and Han river’s convenient store, duck boat that floats in the corner after drift, choppy river and dusk that city’s night embraces silently curl up the body on her way home. She records the scenery that she faces on the way home as pictures. This is closer to gesture to capture the sudden moment of overlapping of herself and the scenery that she strolls on the night street while thinking rather than the moment of cutting up the scenery with purpose.
The scenery faced in the complex is not just any old look. This is not about unfamiliar scenery, but this is assumed unfamiliar as my mental situation is focused on the scenery. Quote from Sejin Kwon’s work notes
She draws the moment taken in the picture as it is (without selective directing) into a canvas. This is not about capturing the ideal and mental energy, but this is about the will to record any scenery that I look at in the real moment through using my own body. We, looking at the picture, look at the scenery in her viewpoint at where she stood up. However, understandably, the moments that she recorded on the way home are not replaced by renewed objects that she saw. Then, how do sceneries on the way home intersect with author’s body and what kinds of fantasy do they generate?
Drawings exhibited in 《On the way Home》 (except only a few pieces) are one picture composed of 10x10cm’s square pieces that are gathered together. Pieces that seem like digital screen’s pixel at a glance have something to remind of enlarged camera’s eyes, but what we find out as we ultimately approach to canvas is overlapping of countless drawing lines which compose each square. The reason why Sejin Kwon started to draw ‘Jigsaw Drawing’ has very practical motivation. This started from her hope to continuously draw within her ordinary situations. This kind of work style is efficient because she can draw various scales of drawing without regard to space and is easy to maintain the body’s breath that draws drawing as it can check the amount of work every day.
She numbers the pieces composed in the screen from the top left and colors each box by softening and spacing out with ink. Because the drawing exposes its figure by piece, there’s a difference between necessarily completed pieces and pieces. Each piece is one part of the scenery and at the same time, it is illuvium that keeps the time such that author’s body’s trace (drawing line) and pieces are completed. Also, pieces interact with the darkness and the light that they keep and before they come up to the surface, they only curl up as dynamis. And as these gather up, they compose one scenery ‘for the first time’. Pieces reveal author’s physical and performative attitude that tries to encounter body to the scenery.
Let’s focus on the darkness that she expresses. The darkness that 《On the way Home》 has is closer to cloud cover rather than the darkness of wildness where not one single this is visible. On a deep night, soft and warm darkness that seems like looking at nimbostratus, which soaks the water, softly and intransigently covers the shape. As if skin shined up on the moon reveals its outline that keeps the light, the scenery faintly reveals its body through a crack of thin traditional Korean paper(Hanji) where ink is permeated. It seems like she experiments various effects through variation of shading with intermediation of Oriental painting’s main material, ink and Hanji. Other than <Convenient Store> that delicately expresses dark night sky and brightly shining convenient store, and snow that is stepped in disorder through light and shade and tuning of shading, they are remarkable in <Wave> and <Temperature of Night>. While <Wave> captures sufficient light’s choppiness that is evenly shined down as a source of light, <Temperature of Night> expresses the shined light towards those looking from the height which is not far from the water surface. Perhaps, dazzling of water surface that might be captured fairly closed to riverside is rather closer to light scatter during sunrise. (At this exhibition, she keeps showing her interest through <Water Surface> where she closely puts her eyes and looks at. At the same time, in <Water Surface>, as pieces of waves composed of the screen are shown by expanding the ink’s stain, she tries to scatter the fantasy of completion that smooth screen has). The shape that object has is harmonized with cloud cover’s layer piled up neatly.
Sejin Kwon’s painting delicately shows the time that body’s countless tries to encounter the scenery and the moments that objects having those times are involved to show one scenery. This is the try to capture the moment that myself discovered by the scenery and the scenery that I see are united and this connects to the attitude to be floated above the layer of space-time, not stuffing the moment at the same time.
On the way to return again, what stories does the scenery where the body is suddenly folded into whisper?
- Jae Hwa Lee