Exhibition Information

Wave
2016 lump sugar, video 3 min

spot side
2019 pigment on paper 142 x 160 cm

The born strategist - cosmos (Frgt.)
2019 installation variable size

glass collection
2016 glass and objet variable size

			ㅣExhibition Preface

Solve the theme of "Dimensional" into experimental works through multi-dimensional observation, research and analysis based on the author’s thinking and visual artistic perspectives.

"Can you take out only yolk without breaking a boiled egg?" This ridiculous but serious question is a typical question in physics involving four dimensions. Living in three dimensions, we cannot easily picture a high-dimensional world higher than the real world in our heads, because we cannot understand more than three dimensions in our daily lives. But in the art realm, it is possible to try to reveal it. Since the artist’s art realm exists within the artist’s own inner circle and at the same time, the art from which it comes can potentially span from zero to infinite n-dimensionality.
In 《Dimension Collection》, co-organized by the three authors, the authors intuitively expand the dimensions from zero to multiple dimensions. A dimension of zero would be a dimension in which nothing exists. It's more like darkness than light, just like a white cube's showroom where the lights are off. The exhibition begins in zero dimensions. The authors have been constantly exploring the two-dimensional visual work, which is called a plane, and the object derived from it, and have been working on the three-dimensional installation. It also seeks to infer higher dimensions from the relationship between two and three dimensions. If the cross-section of a solid is plane, it will be a four-dimensional section. In reality, spatial movement is possible, but past-current-future cannot be moved as desired. Therefore, although it is not an academic conclusion, the four-dimensional visual arts require an element of time. This is because time elements such as time, flow, and circulation are conceived together to realize a four-dimensional world. The fourth dimension is already expressed in various media in many areas. People have long dreamed of the past and the future of time-slip movies, and many writers have presented their own interpretations of space and time in four dimensions. In the exhibition, the three distinctive artists, who link work from flat work to three-dimensional work, will present together drawings, paintings, sculptures, images and installations of the experimental world transcending time and space in the exhibition hall.

Author Choi Eun-chul has been engrossed in his theme of "human characteristics and nature" and, furthermore, in terms of the cultural phenomena or the relationship of the social environment they have achieved. In particular, the symbolic work "Sugar City" for the author has been suggesting both the sweetness and futility of modern people, such as Sugar tax, which has been a social issue in modern society and cities, and the disease. In Dimension Collection, the author interpreted sugar material from another perspective and had the arbitrary theme (3D➔2D) of returning to the dimension. If previous works of the past merely indulged in visual metaphors, in this exhibition his work is more experimental and presents audience participation work based on material circulation and materiality. The author assumes himself that the creative culture of man itself begins with the fundamental, fluid, or dialectical idea of man. The writer's self-replicated sugar sculpture "Sungnyemun," or three-dimensional works of already solidified sugar are dissolved due to the audience's "tasting ceremony" and the traces of byproducts arising from liquids are streamed and collected to watch the process and circulation of the works during the exhibition. On the other hand, if a return at a level is a work that satisfies taste, smell and sight, the writer takes 91 words in Braille to show dot drawing Do Dot Drawing and non-explicitly conceals the context "SWEET," an adjective meaning that the audience perceives through their fingertips. In "Dimension Collection," in particular, the author draws audience participation, not just in the first-dimensional exhibition focusing on Braille drawing, sugar sculpture and video installation, to carry out interactive and experimental work in which the audience feels five senses and participates.

Writer Jeon Mi-hyun observes the world with an organic world view and does visual arts with a serious attitude toward relationships. The separation of the beginning and the end is unknown, and it captures the immeasurable moments that continue to work in between and develops into drawing, painting, imaging, and installation work. The author focuses on creating a composite image without dividing the ‘moment of convergence’ of all the small fundamental elements that make up the world by time or result. And the various approaches to finding the basic elements show new outcomes that connect the boundaries of a plane and a solid. Previously, the author, who produces visual images through thread and rope, makes colors with a combination of various threads and reconstructs images with three-dimensional objects, such as dots, back to the face of a line. It stimulates curiosity when and where it starts and how it ends, and completes the work as if it were really drawing, making the audience perceive both the lines and the sides at the same time. Under the theme of "Dimensional Relationship," the exhibition explores points, lines and faces, which are the basic elements of a figure, and extends them to the n-dimensional space. The writer explores the possibilities and boundaries of drawing and shows the audience the drawing that has a visual rhythm in the way of repeated coupling, arrangement and overlay, the infinite continuity brought by "points, lines and faces." She does not define the boundaries of the dimension in her work. The repetition of the basic elements has a flow and puts the energy produced by the orthopedic, amorphous, rule and irregular pendulum movements into the work. Her new work, which constitutes an exhibition, which includes lines that show traces of time and installation work, is connected by video work by adding concepts of flow and reverse circulation to coexist on one screen, also building an organic and three-dimensional environment in the exhibition space, and the lyrical movement of the work leads the audience to a non-visual, five-dimensional world.

With a sense of nature and the environment, Lucas Thain has been working on his own archive, modeling objects from floor-to-floor paintings. 《The plant of Alexander Bertolde’s Alps》(2011~2016), 《 dew - ceramic collection》(2011~~), 〈always Sporty〉(2016), 〈 glass collection〉(2016))) and other historical narratives will be created and displayed together. In his collection, real and fake coexist and interact.
Installation of space shown in Gallery Emu - I am truly happy only with Museum - wunderkammer - richtig glücklich bin ich noir im museum〉 closely combines various dimensions of areas. Within one collection, it is a diverse mix, like a mysterious world, and embodies paintings, drawings, prints, pottersonography, science, index, book art and various objects on a stage-device setting. In particular, botanist and ethnologist Joseph Rakjoseph Francis Charles Rock (1884-1962), who left for China and Tibet between 1920 and 30, approaches weasels, owls, vipers and birds of prey from an animalistic perspective and reconstructs them with drawings, embroidery, textile art, apricots and handicrafts. Author Lucas Thain considers Joseph's record to be a record of rare rituals beyond the realm of plant painting, and beyond the explorer, he is an artist who expresses intuitive observations and impressions of what actually happens in the world around us with the reproduction of an object's imitations and space in the cultural and social consciousness.
The colorful bunderer-camera of the past European style, which was collected and created in various categories, is considered fascinating and wonderful, intrigued, and if it is an archived burial, Lucas Thane’s special form of presentation connects objects and materials that have no binding points with each other. The glass vase, which has art history meaning, shows 80 different negative slide films like a projectile, and the ever-changing screen has a connection. The artist will conduct a modern collection of album types that will be characterized by a new level of visual experiments, and archive albums made through audience participation in virtual archives on the Internet during the exhibition.

The three authors can ostensibly divide the dimensions of the work, but will not be distinct in content. The purpose of the exhibition is to develop the visual artist into a n-dimensional one and to communicate with the audience. Individual interpretations and representations of dimensions must be conflict. This is because the time of exchange and chaos opens up opportunities to find new dimensions. As I said earlier, it is only possible to understand the lower dimension from those who exist in the higher dimension. Authors will show an intense search for various artistic attempts and chaos on a level and present in their respective ways what will happen in the n-dimensional world. Their n-dimensionality will be an opportunity for the audience to discover new conceptual meanings.