Kim Jipyeong (b. 1976) is pleased to announce her solo exhibition PAINTINGS LOST at INDIPRESS from October 12-31.
Kim Jipyeong is a contemporary artist who reinterprets Korean painting. In particular, she focuses on techniques, forms, media, and materials that have been excluded from mainstream history. An example of this tendency is her work with Janghwang (粧䌙), an ornamental accessory used in folding screens and scrolls. She replaces the paintings placed inside the folding screens or scrolls with ‘Janghwang’. She also focuses on Buddhist paintings. But she removes the Buddha’s figure from the paintings, leaving only the Buddha’s Gwangbae (光背).
The exhibition focuses on paintings from the Three Kingdoms period to the late Joseon Dynasty that have only survived in literature. She explores how they evoke a variety of interpretations through related materials instead of paintings. On the first floor, there are glass cases with anecdotes and information about the painting instead of the painting itself, as well as a folding screen made of wire. On the second floor, viewers will find a series of works related to Janghwang, as well as paintings based on poems in Sin Saimdang’s painting.
Soumya Netrabile’s (b. 1966) first solo exhibition in Asia, Soft Fascination, will be held at GANA ART NINEONE from October 13 to November 12.
Soumya Netrabile depicts nature in her paintings based on her daily experiences while walking in the forest. However, her process of painting nature is less about recreating an objective representation of nature based on facts and more about relying on memory to find the natural archetypes. She incorporates the sensation of observing a particular moment into her paintings, connecting her emotions to the medium and the forms on the screen.
The paintings are a complex mix of colors and fictional plants. Greens, yellows, reds, and other colors reminiscent of the vibrancy of nature create a rhythm of their own. According to the preface, the process of translating one’s memories and sensations onto the canvas is an exercise in “poetic imagination.”
Wu Jiaru’s (b. 1992) solo exhibition Emotional Device will be on view at P21 from October 21 to November 25.
Wu Jiaru has been featuring paintings using automatism, which is related to the artist’s interest in the relationship between subjectivity and rationality. This stems from the artist’s childhood experience in China, where she received Soviet-style art training that emphasized uniformity and rationality. The artist adopted an automatized, meditative way of creating to break away from uniformity and rationality. It has evolved into an exploration of the entanglement between humans and technological objects and the impact of technology on artists. This relationship is explored especially through AI. She focuses on the AI’s impact that shakes up the identity of the artist, who is traditionally considered the subject of artistry.
The exhibition is divided into two spaces, P1 and P2. P1 displays automatic drawings that the artist has been concentrating on. P2 extends them into a three-dimensional world, with paintings depicting objects related to destruction, such as shattered glass and damaged umbrellas.
PAGEROOM8 is pleased to present Schattenwald, a solo exhibition by artist Jiyoung Son (b. 1980), on view from October 20 to November 12.
Jiyoung Son has been exploring the relationship between the visible and the invisible in her paintings and three-dimensional works. In this exhibition, she focuses on the experience of seeing a three-dimensional object, a mountain, in the dark after sunset. After sunset, the mountain becomes like a flat shadow, and Son focuses on phenomena such as light and darkness, reality and shadow, which cross over between the three-dimensional and the flat.
In the exhibition, viewers can see paintings that reproduce nighttime landscapes by applying several layers of Prussian blue oil paint, and sculptures that imagine a cross-section of a mountain. In the case of the sculptures, which are based on Bukhansan and Inwangsan that can be seen in PAGEROOM8, the artist cuts the actual sculptures to expose the cross-sections of the sculptures while imagining the cross-sections of the mountain. In this way, viewers can see Son’s variations on flat and three-dimensional, visible and invisible.