Lee Jae-Hyun's Autobiographical Paintings: The Exhibition "Alone Again".. and More
Gallery Joeun
Lee Jae-Hyun's Autobiographical Paintings: The Exhibition "Alone Again"
Gallery Joeun is pleased to present Alone Again, a solo exhibition by artist Lee Jae-Hyun (b. 1979). In this exhibition, Lee Jae-Hyun unveils his figure-centered paintings, which the artist says are based on people who have been particularly meaningful to him from his childhood to the present. The figures are depicted with oddly long faces, contrasting short hair, and narrow shoulders. They all have bloodshot, round eyes that stare straight ahead and make eye contact with the viewer. These figures seem to be lonely. The artist spent much of his childhood alone in a house where his family was away for business. This autobiographical experience seems to be expressed in the lonely figures and the various toys and dolls that fill the space next to them.
The artist also uses the impasto technique, which involves applying thick layers of paint, creating flat but relief-like paintings. A figure inside a first aid kit, or standing in a bathtub, becomes more vivid with the impasto technique. He also mixes paints with architectural materials with oil-free oil, which is closely related to his background in architecture and sculpture.
In this exhibition, you can glimpse the life trajectory and memories of Lee Jae-hyun through 21 new works.
Whistle
Intention and Coincidence in Eimei Kaneyama's Paintings: The Exhibition "Future Days: Eimei Kaneyama"
Whistle features Future Days: Eimei Kaneyama, a solo exhibition by Eimei Kaneyama (b. 1981), on view from August 18 through September 23.
Eimei Kaneyama is a Tokyo-born artist currently based in South Korea. Kaneyama creates abstract shapes on canvas based on articles and landscapes the artist encounters in daily life. In the nine paintings in this exhibition, the colors of green, yellow, sky, and orange harmoniously fill the screen. The works are generally soft and peaceful.
Whistle previously hosted two solo exhibitions of the artist’s work, in 2017 and 2020, and this exhibition highlights the processes of determinacy and indeterminacy that take place within the artist’s work. The exhibition’s preface emphasizes that a painting does not just appear on the canvas as intended but is the result of both intended and unintended elements. Also, the unfinished and the finished parts of the painting come together to form a work.
In this exhibition, the viewer can experience the paintings by focusing on this formative process that takes place within the artist’s canvas.
Space So
"Only Indelible Good Left", an exhibition featuring mirror paintings and spatial drawings by Sun Mee Kang and abstract paintings by Winter Gyeoul Kim
Space So presents Only Indelible Good Left, a two-person exhibition by Sun Mee Kang and Winter Gyeoul Kim, from August 8 to September 9.
Sun Mee Kang has paid attention to place and space. In order to create works that utilize places and spaces as objects, the artist does not use materials such as canvas or brushes but instead creates ‘spatial drawing’ by attaching tape or cutting adhesive sheets to the exhibition space or walls. In this exhibition, Kang’s spatial drawings can be seen in <and> (2023) and <the capabilities of hesitation> (2023). Also, the ‘Mirror Painting’ series consists of fragmented words in Korean or English on mirrors. While viewing these works, the viewer reflects his or her face in the mirror and experiences the words overlapped on face. Winter Gyeoul Kim questions one’s perception of language and sensation and reflects that questioning on work. The abstract paintings in this exhibition contain multiple layers, with lines running across them. The artist intends to keep the works open in a potential and unfinished state, adding to these imaginative titles such as < Run! > (2022-2023) and < Oh, I forgot my umbrella > (2023). These works invite a new perception of the space within the paintings.
Despite their similarity in the flatness of their works, Sun Mee Kang and Winter Gyeoul Kim experiment with the possibilities of line, by traversing the space of the exhibition (Sun Mee Kang) or traversing the space of the imagination (Winter Gyeoul Kim).
