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Introduction to exhibition_Beam, Force, Earth, You

Jelly power, the zero degree of painting

 

Areum Woo (Art Critic)

 

 

Here , we unfold the scenes from the beginning of the world. These pictures are part of the mineral world landscape series from 2021, based on the world view built from two texts by Seunghee Park: Mineral Sociology (2010) and The Words of Jelly God (2021). The subjects of her recent work are images of the Jelly God and the mineral world.

These two texts are a type of Genesis with a whimsical structure that Seunghee Park created by figuratively viewing the world with her unique and playful attitude. The first sentence of Mineral Sociology says, ¡°A long long time ago in the beginning, there was a mineral.¡± Seemingly implying the emergence of a magnificent new world, it soon fails such expectations with the following sentence: ¡°It was just there.¡± Readers are embarrassed by the artist's brazenness that bluntly discloses its flimsiness, but the bizarre harmony of that flimsiness and brazenness soon make the audience set logic aside and turn towards a humorous imagination about the composition of the world. Whimsical imagination about how a world is formed unfolds in full-scale. According to what this Genesis says, minerals spread their scent with desire to be chosen by man, and they have coexisted with human society in different shapes and usages by man. The one who presents minerals with scents to attract man was the Jelly God, the god of minerals.

 

Reading these two texts, I was reminded of Zarathustra. Zarathustra, the alter ego of Niet zsche, is a philosopher who says to leave. No target destination is given, because he destroyed the temple with his own hands. Since God is dead, now he is faithful to the earth of man, not the temple in ruins. Free and footless reason rove around the world as its home, spreading the words of wisdom to rebuild the value of man. Seunghee Park's Jelly God is on the antipode of Zarathustra. Facing the destructive reality of nature caused by human actions, she chooses amusement over reason. The Jelly God orders us to exist, rather than possess, and find a favorite wave with which to dance along. Wildly shaking arms around with middle fingers up, the Jelly God in the picture is mischievous, and viewers feel liberated.

 

On the other hand, the follow-up piece The Words of Jelly God begins with the Jelly God's introspection: ¡°The scents I sent to humans were wrong ones.¡± Its background must involve self-awareness about the reality of earth in the Anthropocene. In the story, the Jelly God orders the minerals to return to their origin by themselves, because time is running out to have faith in humans. For minerals who transformed due to human intervention, returning to the state of the beginning is an order to defy entropy. Then he says ¡°Go to the white place. Go to the blue place. Go to the black place.¡± They are natural places that imply snowfields, water, and the universe, respectively, as well as the land that minerals reach at the end of their reverse-entropy. While the background of the works in her previous solo exhibition Go to White Places (2021) was a ¡°white place,¡± thi s exhibition presents scenes with a ¡°black place.¡± Painting scenes under the world view established by text, at a glance, seem to comply with the rationality of creation. It is because the text helps in discovering the journey of the painting as if exploring the map in a game or novel little by little. Why did the artist write the text?

 

For quite a long time, Seunghee Park has examined abstract expression that fills a canvas with the effect of lining and filling, the fundamentals of pictorial expression. Her series Time Coloring that endlessly repeats lines with one pen and ¡°Bitomalubee¡± that fills a canvas, writing pictographs with brush, display meditative performativity as if her consciousness is unified with her act of lining. Afterwards, the artist painted with simpler forms to reveal the moving energy itself, rather than indexing certain events, and named the series Motion Study . Sometimes the strokes are rough and dry because she brushed until the paint drains away. Reaching the level of revealing paint itself, now what comes next? One needs to let the world in oneself in order to paint the world. I assumed that is why Park wrote these two pieces of Genesis. And thanks to this piece of writing, her painting can spread to the world of infinite forms.

 

Seemingly, the scenes of the Jelly God and world of minerals are most alike with her last series Landscape Energy . She achieved the current mode of expression that clearly shows the movement of painting and of brush, while the form of painting harmonizes with the subject of painting. Indeed, the paintings are powerful. The paints seem to be flowing out like water and spurting up to form mountains, projecting vitality and liveliness. As there is no hint of man in the picture, it is also hard to notice its sketch or artist's touch from the surface of the canvas. At this exhibition, expressivity of the brush stroke is also maximized in the form of the Jelly God. The form of Jelly God was not expressively incarnated from the beginning. In order to incarnate soft but hard Jelly muscles, the artist's brush strokes grew more flexible, blurred the boundaries, and acquired flexibility of pictorial expression. The Jelly God says you earn power when you become flexible. Seunghee Park is gradually being freed from form, cross referencing images of fiction and painting, reaching the zero degree of painting. The artist's text and painting will continue to be formed as a standard for each other. Someday, it will be hard to determine which is the world of painting or of story.