Exhibition Information

[출처]021 갤러리 홈페이지

[출처]021 갤러리 홈페이지

[출처]021 갤러리 홈페이지

			Today's 'meeting' encompasses many forms. It means physical contact, exists only as an idea, may be planned, or sometimes accidental. Meetings can be repeated or one-off. In a world where the various conditions mediating daily life do not presuppose objects as physical entities and increasingly become data for analysis and prediction, does the word 'meeting' still have the same emotional value? Perhaps plural is no longer a necessary condition for meeting. <If We Ever Meet Again> is an exhibition that began with questions about the various new conditions of the encounter, an attempt to compare the poetic yet deceptive sense created by the accumulation of target-free encounters as material.

Jeong Hee-min's solo exhibition: If we ever meet again |
To understand the invisible time |
Hong Leeji: Exhibition Planner

<If We Ever Meet Again> examines how an emotional sense can be delivered under conditions where the author's presence is not revealed through a series of experiences in which everyday events or actions of meeting have new emotional values and implications. Through this exhibition, Jeong Hee-min wants to compare the body and existence of the artist, who has always been absent in the media of the exhibition, and the state of a new sense triggered by unknown encounters and experiences, as material, where the condition of meeting may no longer be valid.
 Living as an artist, as David Lynch said, means only time is required and if you want to paint a nice picture for an hour, you shouldn't be disturbed for at least four hours, the past in painting does not just mean the time when a writer paints a work. The picture we face in the exhibition hall exists complete. Therefore, imagining the time until the work is completed is a process of appreciation to understand the picture in an integrated manner. The painting contains the artist's gesture of facing the brush strokes, speed, and image overlap. The painting contains the layers of time drawn by the body of a large or small back or crouching artist, and the presence of an artist who makes a quick stroke like dancing or repeating his or her gestures as if performing. And this accumulation of time and gesture is not complete until a total narrative is given.

Jeong Hee-min's painting is the result of the process of starting digital implementation.  Implementing images through programs inside the screen, taking them out of the screen and moving them to canvas, can be called a process of reproducing synesthesia of images existing in digital and images that are processed with digital tools and lost time and narrative are physically with digital by borrowing the author's body.  In this process, he diversify the body of the artist who intervenes in the painting and plays different roles. Just as Andy Warhol, who met his working needs by synchronizing the machine with his body through the Silk Screen technique, a commercial printing technique, sought to transform the strategy and means that allowed him to escape the limitations of the production method at the time, Jung Hee-min acquired the infinity of a more expansive and boundless screen by incorporating and synchronizing his body into the screen. The problem is the point at which synchronized and rendered images are taken out of the screen again. And at this point he actively utilizes the body.

[Source] 021 gallery homepage