Exhibition introduction 2022

 

ENG ∣KOR

 

Unfamiliary Glittering

 

Kim Jeong-dae (CEO of INDIPRESS)

 

 

Mystery seems to arise when we confront unfamiliar and unexperienced situations—moments that resonate with our own idealized perceptions. It is that thrilling sensation, a fusion of wonder and excitement, that emerges when our imagination expands beyond prediction and into the awareness of an unforeseen reality. This sense of mystery often intensifies from an initial feeling of unfamiliarity, gradually amplifying its presence.

 

Artist Eun-Joung Cho (b. 1978) stands at the heart of life, deeply engaged in capturing these elusive moments. Amid the flood of images and issues that define our contemporary era, she devotes herself to observing fleeting yet radiant instants—fragments of time that shine with a raw, unfamiliar glow. The phrases found in her artist’s notes, such as "The fading beauty of memory" or "Time passes in an instant, like a cheetah," are not merely words but visualized concepts within her paintings. Her approach is distinguished by the way she employs various metaphors, not simply to convey the direct aesthetic qualities of a landscape or object, but rather to articulate ephemeral experiences—those sensations of fading or passing in an instant that can be perceived, yet never fully measured.

 

To express these transient perceptions, Cho seeks to balance subjectivity and universality. She introduces the concept of balance as both a structural foundation and a means of guiding interpretation, carefully avoiding excessive abstraction while maintaining a delicate interplay between realism and poetic imagination. Rather than distorting imagery, she opts for precise, nuanced representations that allow for a contemplative leap in perception—one that remains tethered to reality. Her paintings actively invite linguistic associations, encouraging not only her own introspection but also the shared reflection of the viewer. There is an undeniable energy in her work that fosters a positive perspective on everyday life, prompting us to see beyond what is merely depicted and toward the relationships that emerge between subjects. These relationships, in turn, reflect the artist’s psychological state and are the product of her deep contemplation—perhaps even a reflection of her philosophy.

 

Cho’s artistic practice is not confined to technical mastery shaped by her formative years of rigorous training. Instead, her work reveals an intuitive grasp of insights gained through lived experience. This intent manifests naturally on the canvas, where her attentive gaze toward the relationships between objects and situations leads to an intriguing optical illusion—one that momentarily detaches the viewer from reality. Such illusions belong to the long-explored realm of painting’s enigmatic power, a domain where artists have long honed their senses in pursuit of the profound mysteries of visual perception.

 

Just as nouns, adjectives, and verbs evoke images in language, the seemingly insubstantial role of particles in grammar ultimately defines relationships between forms. This notion serves as a compelling metaphor for Cho’s artistic exploration. As she navigates the interplay of fundamental visual elements—deep and light, hard and soft, thick and thin, long and short—one cannot help but wonder: how does she translate her profound concern for balance into form?