A decent poetic word is seemingly light and simple. The more one dwells on it, the heavier it becomes. a gesture that connotes considerable information requires further efforts to be comprehended. Meanings hidden underneath the surface continuously rise up. The more the art broadens one’s thoughts with inexhaustible allusions, the closer it reaches to its original meaning.1 Park Hyunjung’s image component does not only remain as a shape but also implies the context beyond it. It is a mass that integrates the artist’s contemplations from the process of refinement and composition. Each image flexibly floats around multiple picture screens. Once it belongs to a new context, it transforms itself into something different from the previous one. Images continue to self-replicate and refer to each other, to compose a broader scene. The sincerely refined words efficiently expand to develop rhythm and meter of a poem. In her recent work, Image(90) (2019), five ovals painted with radiant ultra-marine blue stand in a row in the center. Echo-like silhouettes spread around them. Golden oblique lines and brushstrokes cross over and underneath the ovals, extending the depth of the picture screen. This creates a shallow yet definite distinction of layers. Some draw melodies, and others make a chorus. The picture screen becomes a musical note for the flow of our vision.
- Excerpt from “Floating yet Linked Words” | Miran Park (Curator at Hakgojae Gallery)
1 Flusser, Vilém. Gesten: Versuch einer Phänomenologie. (Düsseldorf: Bollmann Verlag, 1991/1993). 『몸짓들: 현상학 시론』. 안규철 옮김. (서울: 워크룸프레스, 2018), pp. 17-18.