Hakgojae Gallery is pleased to present No Direction Home, an exhibition of new work by the American artist Jin Meyerson, opening on April 13th at Hakgojae Gallery, Seoul, Space 1. This will be Meyerson’s second solo exhibition with the gallery and features ten new paintings, including Stagedive (2015- 2016), his latest monumental large-format piece. No Direction Home will be accompanied by a new catalogue with an introduction by the artist and an essay by David C. Hunt.
A pioneer of using CG technology in concert with painting, Jin Meyerson has focused much of his practice over the past twenty years on the intersection between optical perception and personal psychology, using analog hand-drawn sketches in tandem with various forms of imaging software to distort, stretch, invert, mirror, recolor, and otherwise assimilate layer upon layer of photographic source material in order to modulate the force, speed, and clarity in each of his paintings.
Typically imbued with a quasi-documentary impulse, Meyerson radically alters the initial photographs’ tone and frequency – what the critic David Joselit calls “its texture of transmission” – lending it a mysterious valence that short-circuits received ideas not only of originality, authenticity, and even copyright, but of photo-journalistic claims to historical veracity couched in the avowed impartiality of the witness.
Shortly after 2005, in order to distance himself from the bundled tools of branded software, Meyerson began to produce a wider range of effects by manipulating his original sketches manually, most notably by printing them, and in turn dragging or spinning those prints across the bed of a scanner, thus accomplishing similar glitch effects but tying them to performative actions rather than digital simulations of the same. The wide variance in mood from painting to painting, ranging from ambient ferocity to torrential chaos, suggests a centrifugal meaning both spinning outward into a generalized multiplicity, while simultaneously splitting off into discrete narrative threads of the viewer’s own devise – a new twist on the reverie/reality matrix.
Needless to say, there are no suggestive absences in a Jin Meyerson painting, only aggressive presences. Jin Meyerson was born in Incheon, South Korea in 1972 and grew up in rural Minnesota. He received his BFA from the Minneapolis College of Art and Design in 1995, and his MFA from the Pennsylvania Academy of Fine Arts in 1997. Meyerson is currently based in Hong Kong and Seoul after beginning his career in New York and Paris. His work has been featured prominently in such landmark exhibitions as The Triumph of Painting, Saatchi Gallery, London; Disorder in the House, Vanhaerents Art Collection, Brussels; Living in Evolution, The Busan Bienniale, (curated by Takashi Azumaya); Hue & Cry, Sotheby’s S|2, New York, (curated by Vladimir Restoin Roitfeld); and most recently Full of Peril and Weirdness: Painting as a Universalism, M WOODS, Beijing, (curated by Robin Peckham).