[Exhibition of the Week] Bokim·Jeong Jaena 'Breath: Punggyeongnori'·Ha Ilji Solo Exhibition 'Unauthorized Entry' etc.

▲Seonmi Shin Solo Exhibition 'Love Song: Story for All' = The Trinity Gallery is hosting the solo exhibition 'Love Song: Story for All' by Korean painter Seonmi Shin.

Sinsunshi, Deokhye, Colored on Jangji, 88x79cm, 2023. [Photo provided by The Trinity Gallery]

Artist Seonmi Shin first gained attention in her 2006 solo exhibition with witty works featuring women in hanbok and the ‘ant fairy,’ an imaginary friend visible only to the innocent eyes of children. Her delicate depictions of each strand of hair, eyelashes, hanbok, and accessories blend harmoniously with the understated colors characteristic of traditional Korean paper coloring techniques, modernly recreating the beauty of traditional Korean painting. While the artist has previously explored maternal love through women in hanbok, her new works such as 'Love Story' and 'First Love' focus on the fresh love between men and women. Memories of nervous mistakes in front of first love, stumbling while dressed up beautifully, and the fluttering, tender feelings are vividly conveyed.

Shin Sun-mi, First love, colored on hemp cloth, 43x66.5cm, 2023. [Photo courtesy of The Trinity Gallery]

This exhibition also unveils a special work commemorating the life of Princess Deokhye, who lost her mind longing for her parents in a foreign land. The painting contains the artist’s wish for the historical figure to embrace her father, Emperor Gojong, with all her might, as if turning back time. The artist explains, "The ‘ant fairy,’ who has accompanied the protagonist in my paintings for a long time, is a grateful presence that appears and disappears like a childhood dream, helping in many ways. Those who supported familial love?what role might they play in romantic love? Excitement, tenderness, longing... The new theme of the ant fairy series, which supports even these complex and subtle emotions, is ‘Love story.’" The exhibition runs until May 13 at The Trinity Gallery, Jangmun-ro, Yongsan-gu, Seoul.

Jung Jaena, Forest no.1, 2023, Kwangmok, Ink, 1400 x 800mm. [Photo courtesy of Rahin Gallery]

▲Bokim & Jaena Jung Two-Person Exhibition 'Breath: Landscape Play' = The two-person exhibition 'Breath: Landscape Play' by Bokim (Kim Bokyung) and Jaena Jung will be held at Rahin Gallery from the 23rd. This exhibition starts from the traditional Korean sculptural strategy that attempted to enjoy landscapes from a corner of a space. Since ancient times, our ancestors enjoyed ‘chagyeong (借景),’ a technique of manipulating windows to bring landscapes indoors, and ‘punggyeongnori,’ which embraces the multilayered composition of nature by utilizing the ever-changing structure of houses. Inspired by these phenomena, this exhibition is planned to present the works of two artists who embrace and envelop the surrounding scenery based on sculptural language and the spirit of ‘contemplation,’ viewing them within the multilayered spatial structure like the frame of a hanok, offering the essence of ever-changing landscapes. Notably, the two artists incorporate the rhythm of the landscape into their work without discriminating or cutting it off. This reflects the Korean spirit of placing subject and object on equal footing in a sculptural way. The exhibition invites viewers to join this landscape action that harmonizes with nature without discord, sensually presenting the infinite diversity of scenery.

Bokim, On a Very Long Winter Day, 2023, Hanji, sand, acrylic, and conte on canvas, 150 x 150 cm. [Photo by Rahin Gallery]

Artist Bokim records changes in landscapes, where variability and potentiality are realized through repeated appearances and disappearances, reflecting these in her emotions. This is especially highlighted through materials centered on hanji (traditional Korean paper) and sand. The artist layers and cuts hanji, applies paint, and then sprinkles sand along the powder glue spread over the edges. Over time, wrinkles and stains form on the layered hanji, and the sand naturally peels off. Through this, the artist reveals a psychology of not resisting the changes and creations brought by natural phenomena, urging herself and the audience to stay awake to the constant differences and creations evoked by the landscape.

Jae-na Jeong, detail of Dancheong low table, 2019, Dancheong, wooden export-import box, 1000 x 700 x 810 mm.
[Photo by Rahin Gallery]

Jaena Jung, whose background is in woodworking, uses the concept of ‘borrowing’ to reinterpret the past as nourishment and measure Korean spirit through exotic designs. Notably, without following precedents, he allows the audience to feel the tradition, eroded by time, within certain limits. His works that preserve the forms of art export-import boxes and furniture while incorporating traditional dancheong (multicolored decorative patterns) are representative examples. Meanwhile, his other flat works depict wood grain, the growth record of trees, using rubbing techniques to resemble lush landscapes. Through these exhibited works, the artist seeks to evoke the external landscape action close to the interior, allowing the inside of the space to naturally permeate into the dazzling outdoor scenery. The exhibition runs until April 29 at Rahin Gallery, Hangang-daero, Yongsan-gu, Seoul.

Ha Ilji 'Moonlight of Vilnius' acrylic on canvas, 91x73cm, 2023
Photo by Gugoo Gallery

▲Ha Ilji Solo Exhibition 'Trespassing' = Gugoo Gallery is holding the solo exhibition 'Trespassing' by novelist Ha Ilji. The exhibition features over 30 works, including Ha Ilji’s ‘Clock Series,’ the Green Era, and new works.

Ha Ilji’s exhibitions are always titled ‘Trespassing.’ According to the dictionary, the term means ‘entering or intruding into another person’s exclusive area without permission or for no reason.’ The artist is not a traditional art student. Having lived as a novelist and writer for over 30 years, he took up a brush without permission, entering the exclusive realm of the art world. Since he began painting in November 2018, he has held more than ten exhibitions domestically and internationally within a few years. Just as his emergence 30 years ago was an event in Korean literary history, Ha Ilji is making his presence felt in the art world as well.

The artist says that, as with writing novels, he does not paint to paint well.

Self-portrait, acrylic on canvas 53x45.5cm, 2022, [Photo provided by Gugoo Gallery]

He emphasizes that there are countless people who paint well in the world, and he does not feel the need to paint well himself. "I prepared the exhibition by painting subjects that no one but me could paint, freeing myself from the temptation to paint well." This attitude is reminiscent of his work 'The Road to the Racetrack.' "I have never been to a racetrack. Therefore, I do not know where the racetrack is. Long ago, someone once told me about the racetrack. I only remember the story I heard from him. But now, I do not know who he was."

Although the artist says he does not know art, over the past few years, he has continued his work, weaving stories he heard from others into paintings with his inner voice. The exhibition runs until the 27th at Gugoo Gallery, Insadong, Jongno-gu, Seoul.