Exhibition Information

Kim Soo Yeon

Park Kwang Soo

Jeon Hyeonseon

Chu Mirim

			Iluspace invited six writers (Kim Soo-yeon, Park Kwang-soo, Yoo Ji-young, Lee Sun-sun, Choo Mi-rim and Han Ji-hyung) who produced their own figurative images in different genres such as painting, installation and drawing. The exhibition shows that young artists, who are active at the moment, are expanding their thinking by using various basic building elements to create new images from their individual expression methods and establish their own working world.

They reconstruct space and create new shapes by creating images from lines and shapes or by utilizing and separating pieces of cotton itself or image. These images, created by variations of various basic building elements, such as dots, lines, faces, types, colors, textures, etc., form organic relationships with spatial concepts and are visualized in their respective unique ways. Through this exhibition, we hope to summarize the various basic elements of sculpture and the principles of sculpture that appear in the works once again, and meet the art aura expressed through their fresh artistic thinking and their own expressiveness.

Kim Soo-yeon uses a virtual scene (photo) to create a scene. Gradually implement complex nested landscapes and sentiments through multichannel work processes, starting with a plane (photo), creating a three-dimensional space, where the space is moved back to the plane (dialogue). |Park Kwang-soo cares about events in which a certain existence disappears or dies and visualizes them through nested points and lines. Between the lines drawn between the lines depicting the form and the lines drawn between the characters and the scenery in the black screen created by filling the gaps in the lines, white margins are revealed as rubble. 

Yoo relapses the painting into a more comprehensive "miracle object," and then backtracks on the conditions that the object must meet to be recognized as a painting. To examine what role images play in painting, experiment with rejecting and emptying images or reversing the background structure and the role of painting to determine the boundaries between painting and non-conversation. |Front lines are drawn in a stack without giving any context or role to the shape. Different categories of image materials, such as drawing, shapes, data from the Internet, parts of previous work, and objects in front of them, are stacked step-by-step so that they can create temporary order in the canvas, and poured flat and flat without hierarchy between the images that make up the screen. 

Chu Mi-rim discovers the structural similarities between urban landscapes and online spaces and visually expresses them, with geometric shapes colored in colorful colors in the works reminiscent of pixels on a digital screen, the top of a city overlooking from a satellite through a map program, and windows in a building. These figures show that they are constantly proliferating, forming clusters of individuals who live on the Web and in the city. |One terrain is interested in the space between reproductions and real life, building up a virtual side and expressing incomplete flatness. Each layer of material, such as a cut-off color face and a stroke of paint across the canvas, overlaps the layers, forming a new coordinates, with each layer changing into multiplication, division, or organically.