Exhibition Information

			Words and objects do not perfectly match. The word "rock" is not in itself an actual "rock." This exhibition <Securing Things> is the second solo exhibition by Lim Jae-young. The author will present 13 new paintings. According to long-standing promises and rules, we easily connect language with its object, but there is always an imperfect lacuna. The author embodies the original author's interest in language and shape as a gap between words and figures, five years after his first solo exhibition, "The Unconnected Air," in which he wanted to portray the non-



To pretend to be an epic, but refuse to be an epic

"I've been trying a painting scene where I'm interested in figures and the language that dictates them, pretending to be an epic but refusing to be an epic. The reason I became interested in language was because I often thought about the imperfect aspects of language, which we often think of as matching an image with a language, but more noted that in fact there was no connection between image and its name. As such, my paintings begin by questioning the relationship between the object drawn on the screen and the language that dictates it.



The specific form of a single image usually has a clear indication of a particular meaning within the painting. I think images can be perceived as being unconsciously replaced by language by the viewer as soon as they are shown. It has a side that prevents you from imagining other objects that could have been there and blocks the possibility. But the images that appear in the images of my work - all images of objects or objects that can be replaced in a particular language - are interchangeable with one another indefinitely and are constantly interchangeable. These interchangeable and open images, therefore, create a yusa-experience that looks like an epic, and create a yusa-space that looks like the space on which it is placed is real in a painting.




Paintings have the same space as theater stages and television stages, with characters, objects and shapes set in priority. It seems like a story is being made up in it, but if you look closely, the narrative may seem to be partially followed, eventually the link of the story is not established, and it is eliminated. This may be because each image drawn here pushes away the meaning of each person as a given language and rejects it. These galloping works, which are the main pieces of painting, are called 'scene-talking' for convenience. The work derived from this is 'parts'. It is the task of pulling out the partial images that I re-acquired from the overall image of the preceding scene-talk, and enlarging them on the new side, or trying to transform the shape by focusing on the partial elements of a particular feature. To re-expose familiar features that are already well known, such as parts of the body, in a way that is not familiar with them, try a different conversational approach to how they are drawn. My approach began with the quest for partial diction of works of art that preceded the past, such as certain literature, movies, and paintings. I have followed the dictionaries of paintings and literary works, but I expected them to eventually scatter, divide and expand, not to be fixed. It's about pretending to be an epic in a conversation, but constantly trying to deviate from the narrative." –Lim Jae-young, author of the novel –