Exhibition Information

Installation view

Installation view

Installation view

Installation view

			Vincent van Gogh said he is happy because he is in harmony with nature as long as he can express what he sees. The writer I see, Jung Young-sun, is one of the most happy-looking writers who can express what she sees better than anyone else and who is in harmony with nature and the world. For her, a middle school science teacher, everything in nature seemed to be new, and nothing that was ever cherished. And this idea deepened when she looked at the way she painted. I met her just eight years ago. For her, who was painting natural scenes, I guess it was her own deep breath and part of her life. When many students begin to learn painting and ask them to take pictures of their favorite words, or topics they want to paint the most, or to find materials, they usually bring pictures of circles, trees around the sea and mountains around them, flowers, and large, small objects that sometimes look like family pictures or antiques, and pictures of animals.

But most people brought natural landscape pictures, and I realized that in modern society, where cameras were invented, so many people loved nature and wanted to paint it. For a long time, I watched the process of drawing by Jung Young Sun. What's unusual is that while other students are looking for nice, pleasant photos, she's the only one that's easily found in magazines or newspapers, she's just looking for a sense of nature, but she's brought in or she's been saying, "This is good, should I draw this?" And so far, the process hasn't changed. At first, when most students bring something to draw, it is not uncommon for them to bring something that they think will be "really cool" or that the subject itself seems to have a feeling. But over time, I bring some really good materials, and among them I have been good at reading students' minds, guessing what they want, and acting as a kind of guide to help them express them well. However, the meeting with author Chung Young-sun was different from the beginning. As she paints, she sometimes talks about her junior high school students, which always contain sympathy and love. She seemed to be interested in one student, all of them, and she is a very dear and dear person.

The reason I thought this was because I have seen her who is not bothered, answering every little question of students who are sent late at night, and seeing her who feels the pain of the students as her own and is upset and worried. Knowing her mind, she said, "Why don't you draw this? It's cool, isn't it? I came to the idea that the unglamorous pictures of nature can be as precious to her as she treats all the students alike. And as she saw the pictures of the unsightly scenery appear bright and fresh through her brushwork, she gradually understood the way she chose the subject and drew. Although he has met numerous writers so far, few seem to match his attitude toward life and his attitude toward painting like that of Chung Young-sun. When most Koreans see a person drawing or the paintings that he or she drew, they say, "I don't understand why you draw in this color. I like this part, but it's not that one, and sometimes it's better to say a lot of things like this. He also offers his opinion. Despite the fact that the life of a painter must be revealed to the public. Assuming that no one on earth has ever lived the same life, the same thoughts, the thoughts of others who fling at the painting that reveals themselves as it is seeming to be funny. Because art is a creation that reveals each individual's thoughts, lives and tastes. On top of that, I think it's their arrogance to make criticisms that your life is okay, not so good, why did you live like that? I love Chung Young-sun's paintings, which have worked so hard as to be a dear teacher of students, a mother of a family, a daughter, a daughter-in-law, and a writer who is good at painting the scenery of nature. No, I respect it.

I think this is why Jeong's first individual exhibition, "To Girl ...," which was designed as half his own and half his own, should be celebrated by so many people. Looking at her way of working, Camille Pissarro’s words that novelty is not a subject but a way of expressing it are all the more deeply etched into her. What is at the heart of content in the works of art is not the objects themselves, but the lively and the spirit that has dealt with and perfected them subjectively, that not only simply imitates the external objects, but also communicates the artist himself and his inner self at the same time. In this very sense, any object in the conversation itself proves to be OK. Because it is the subjectivity of the author that begins to emerge as important there.

(written in 2015) ■ Choi Jeong-mi