Exhibition Information

盖利红, 谭雅匀’S
2020 谭雅匀's hair on a felt 50x82cm

Baek Jin-ki, FIAT LUX
2018 Crystal Marble 120x120cm

Song Ha-na, Bride
2016 Collage and oil on paper 76x107cm

Yu han-yi, Rooftop garden
2017 Pencil, print, color on paper 62x81cm

			Introduction of exhibition

Park Chun-nam (Curator)

1.​
Artists use one way or another to capture the unique "breath" of life. Respecting the physical characteristics or appearance of the materials used, or antagonizing them with the unique psychological properties and make-up of the materials or pigments and giving them their own unique breathing. The story, engraved and released like a pile of support and materials, is filled with wisdom experienced in living a rusty life, longing for the sad past, and dreams. The reality of life, which one can only accept as fate, and the meeting and parting stories he experienced in his short life, are reflected or broached.

"Breath" is an impulse to summon the warm energy of Aslai from the scenes of life where he has struggled with his daily life. It is also an overall energy that reflects the rest of the world and the desire to live this life with enthusiasm in the midst of the unglazed situation. The present/future landscape of life that a writer experiences while living will be nothing short of the writer's view of things and the spirit of art.

Breath is designed to share the small, yet still-sounding, empathetic episodes and podiums experienced in everyday life through the various life scenes and breaths of the four artists. The works introduced during the exhibition are those that allow you to experience the stories that four writers exchanged with objects, phenomena, materials, and so on in the course of their work. Motifs of work, selected materials or techniques used may be different, and this is why they come generally warm beyond physical properties and characteristics, such as selected materials or techniques.

The screen and object-lit physical and psychological movements and sounds are captured or heard, such as noise and sound, warmth and energy as if trying to wake up to space, and the weight of life. They include about 20 delicate, warm breaths and breaths that are mixed into their works in their own way. It is hoped that it will be a place for the four artists - Baek Jin-ki, Song Ha-na, Yu Han-yi, and Geom-hong - to see what "hide" they were trying to blow and find through painting, collage, sculpture and stereophonic work, and to see what kind of stories they exchanged with the world and what they had settled on the screen and materials.

2.

Baek Jin-ki presents a unique circular structure called the "Archeological Future." You can experience the desire to return to the origin of life, the full will to spread your life toward space. Through healthy, dynamic rhymes and tension that hover between those two desires, the future fullness of life, the wind to salvation, and the euphoria. Every day, the results of cutting, engraving, grinding and trimming attract attention as if wriggling. It is a true crystallizer of sweat and breath that embodies wishes and desires, and is a similar old-fashioned result.

The centrifugal and centric movement in the work shows the affection and stubbornness of the artist, who has been in the same boat with stone for the past time. Baek Jin-ki is always cautious, even though he knows the breath and the nature of the stone better than anyone else. They follow in tactfully and respond sensitively to their responses. This is why they are united with a certain direction. Sometimes they cut down and hit trees as if with a knife. As if looking at a black-and-white woodblock print, a knife-tasting surface texture attracts our attention. The so-called co-help work, centered on a circle and a square square, is reminiscent of the order and energy of the universe, the sacred and religious absolute aesthetic, and the so-called Sung Go-mi.

The understated, rather ascetic work impulse of Baek Jin-ki unwinds the flow of the ancient galaxy both now and in the future, allowing it to experience the mysterious energy of life. The exhibition will also showcase three-dimensional work on the floor, along with geometric forms of relief work on the walls. Contrary to the flow of the tide, it seems to have been enriched over a long period of time, with a fairly sharp breath, as if the heat of time had subsided. You can experience the accumulation and accumulation of time from time immemorial, as if you were looking at a coral reef.

Song Ha-na tells the story of the world with her main narratives, such as papier colé, colliery, and assemblage. Song Ha-na, who has been using transformational frames such as circular ones and conducting various types of experiments such as on-site wall painting, recently captured a unique life scene on a long, horizontal screen. On the panoramic screen, the scene of his life is a breath of his numerous activities, including the preparation of holidays, turns and rituals. This is why sometimes it is necessary to read his work from side to side.

Song Ha-na has sincerely played out the episodes she experienced in everyday life through her unique production style and format, in which she cuts out the image of the product in the flyer, re-objects it and then leaves it on her support. Song Ha-na's story-telling style, which was followed by a peacock spreading out his feathers, can also read his long-held belief that he emphasizes the breadth of the story. Song Ha-na’s scenes are symbolically overlaid with the scenes of her life as a daughter, a housewife and a mother.

His work of applying orchids all over again, like painting orchids with a brush, and then sticking them on, putting them back on, spreading them, and piling them on is both physical and psychological as anomaly. This is why the screen shows a middle-class and unhelpful personality. It is an effective way of reflecting multiple lives. Maybe he keeps a picture diary that he has written since he was young. His work, piled up in thick and thin, may be like the sound of a breathless diver poking out of the water, putting off a considerable amount of underwater work for a while.

Yu han-yi gives life warmth and plenty of energy to the city’s daily life, which can be hard and dry. His warm breathing in the face of the screen comes as a gentle breeze and a ringing sound. His generous gaze, which he took away from life and things or looked closely at and caught, becomes a ringing sound on the screen like an interrogation. It is no different from the expression of a will to live a life that is positive, complete, and more generous.

Rather than unilaterally swaying nature's self-interest, Yuhan-yi shares and breathes together, respecting and supporting the original intrinsic rate. It also resembles a flexible mind. Yuhan-yi breathes her breath as an organic energy into the order of the geometrical world, which seems to be woven into a horizontal shape at a glance. It gently conveys that among busy daily lives, there is something between the wind and the soft energy of the ear, the things and things, the existence and the existence. If you follow his line of sight, his subtle reading of the world, and his gentle breathing, you will hear the gentle breathing of the gray space of the city and the footsteps of big and small.

Known as a so-called hair writer, Garihong presented three pieces of hairbrush in the exhibition. It is a comb made from hair, not off-the-shelf. The unique project began when the grandmother, who raised her, reflected on her memories of the time when she combed hair. How can a man go, but the past remain? Her hairbrush, made of her hair to remember her grandmother, has continued in various formats and ways to this day. Garihong sewed up the old lady's breath as if she were trying to remember her grandmother forever. The artist also performed a performance that produced combs of various shapes and functions he had used with his hair collected for more than a decade.

In China, there are many episodes that have special meaning or testicles related to hair. Hair is an unusual material and material for all over the world. This is why Garihong's hair work is gaining more meaning than just materials or ideas. As the artist's warm and affectionate story and work became known, acquaintances began to bring their own hair one by one. Garihong made a hairbrush they used from the hair they provided, as was the case with her grandmother. The facial expressions and stories of the combs on soft felt must vary.

The works on display include the name of the owner of the hair and comb in the lower part of the felt, which is a support. Through hair and combs of various textures and colors, you can guess the age of the main character and his life. These combs and hair don't change or grow in shape, but the writer's breath, along with their breath, will evoke, make, and prove this and that episode for a long time.

3.​

Each of the four artists presents a unique work, but their breathing is generally moist and warm. The warm energy of the materials, such as stone, that can be felt cold, may be the reason why writers understand and respect the nature and breath of objects and materials are not one-sided but warm. Let's follow the breaths and breaths they gave us in the process. Rather than paying attention to the results of the sculpture, we hope that you will meet the motif of these works and "Breath" as a generous and story that has been melted into every corner of the screen along with the process.