작업 소개

57STUDIO는 국립현대미술관의 전시 프로그램인 ‘젊은모색2019’ 전시의 미디어 콘텐츠로 아티스트 인터뷰 시리즈를 기획 및 제작하였습니다. 이번 전시의 부제인 ‘액체 유리 바다’는 서로 다른 주제와 매체를 각자의 개성으로 다루는 참여 작가 9명에게서 발견한 공통의 키워드에서 출발하였습니다. 인터뷰 시리즈는 각 작가의 작품 세계와 전시 취지를 효과적으로 전달하기 위해 제작되었으며, 작가들의 창작 과정, 작업에 대한 생각, 그리고 전시에 대한 개인적인 관점을 담아 관람객들이 전시에 대한 이해와 몰입도를 높일 수 있도록 구성되었습니다.

정희민 작가는 마치 가상현실에서 본 이미지 같은 이미지들을 캔버스로 보여주고 있는데요. 특히 아주 건조하게 발려진 표면과 그 위에 아주 두꺼운 촉촉한 물성을 만나게 함으로써 자신만의 독특한 감성을 만들어내는 작가입니다. 이번 전시에서는 ‘개의 입 속’이라는 굉장히 추상적인 공간을 설정하고 거기에서 바라본 석양지는 아름다운 풍경을 제시하고 있는데요. 정희민 작가의 그림을 통해서 동시대 회화에 가능성을 엿볼 수 있습니다.

– 최희승 큐레이터

57STUDIO planned and produced an artist interview series as part of the media content for the Young Korean Artists2019, a program by the National Museum of Modern and Contemporary Art. The exhibition’s subtitle, Liquid, Glass, Sea, was inspired by a common keyword discovered across the nine participating artists, who each approach different themes and media with their own unique perspectives. The interview series was created to effectively communicate each artist’s artistic world and the exhibition’s intent. It captures the artists’ creative processes, their thoughts on their work, and their personal views on the exhibition, helping viewers deepen their understanding and engagement with the exhibition.

Jeong Heemin is an artist who presents images on canvas that resemble those seen in virtual reality. She creates her unique sensibility by using very dry, thinly applied surfaces combined with thick, moist textures. In this exhibition, she sets up the highly abstract space of “inside a dog’s mouth” and presents a beautiful sunset landscape viewed from there. Through Jeong Hee-min’s paintings, we can glimpse the potential of contemporary painting.

– Choi Heeseung (Curator)

Hello, my name is Chung Heemin.
I’m a painter, and my work brings experiences from everyday life onto the flat surface. I’m interested in the continuous exploration of certain material or forms needed in order to materialize a certain texture or feelings that I wish to express. It’s more fascinating to experiment with new materials than using the same methodology in my work. So now, I create works that deviate from the conventional expressive forms in painting.

I’m often asked why I don’t print my work, or if my work is indeed a print. Others also ask me if I wouldn’t want to make brush strokes. I get many questions like that because my techniques deviate from the fixed notions of painting.

I think of space as a very important factor. How the work is shown in the space often makes the work stand out in a good way. So before I compose my image, I sometimes make plans about the space, or do so after thinking about what paintings to create. In every show, I become assimilated into the feel of the space.

I wanted to propose the canvas itself as an object. I would prop up a canvas in the middle of the exhibition space, distance it from the wall, or hang it on a fake wall or image. Since then, I began to think about ‘paintings in fluid forms’ I’m interested in using the medium, and expressing myself through it. Light is one of such mediums. I believe that the light is crucial in creating an experience about a certain space.

It may seem like a still life at a glance, But it’s not about still objects but about the space that holds it. Such circulation brings one to think about the expression of exclusion. For me, space seemed to belong to a different time and space and when I became absorbed into that space, it felt like a dream. I imagined becoming one same existence. It’s about the sense of disconnection one has when it feels like they belong to a certain space, and that feels like a dream.

An observation I keep on thinking about repeatedly is that, to express what’s called material, we cannot catch up with the speed at which the eyes are growing. The eyes are adapting to the vividness of video and the visual. I feel that rendering this through material cannot catch up with its speed. To what extent can I express what I wish? That’s a question I ask these days.