Heo Jeong Eun Solo Exhibition
'누가 그린 그림'
Elements converged into a perfect close.
11/26 - 12/02
Opening: 11/27 at 5pm
Heo Jeong-eun deconstructs and reconstructs traditional artistic assumptions regarding the subjectivity of creation and the completeness of the work. This is not merely a material deconstruction, but a philosophical inquiry into the essence of the artistic act. The repetitive actions seen in the work may initially seem monotonous, but within them, the continuous changes and shifts in position create a tension and balance between opposing elements, opening up a new realm of meaning.
The fragmented ceramic elements presented by the artist evoke the segmented information of the post-digital age. Each fragment exists like an individual node in big data, coming together within a specific context to form new webs of meaning. This both metaphorically represents the structure of contemporary information society and suggests that the interpretation of the artwork is completed through the active participation of the viewer.
Noteworthy is the artist's use of the exhibition methodology called 'profiling.' By adapting the narrative structure of modern criminal investigation into the realm of art appreciation, this approach positions the viewer not as a passive recipient but as a co-participant in the creation of meaning. This attempt can be seen as a reinterpretation of Roland Barthes' concept of the "death of the author" from The Death of the Author, particularly in how it addresses the "birth of the reader" within the visual arts.
Heo Jeong-eun's work, which brings modernity into the traditional medium of ceramics, dismantles the binary boundaries between material and concept. The white ceramic fragments in the work function like deconstructed morphemes of language, and their collective arrangement generates a new semantic structure. This presents a third realm that transcends the dichotomies of materiality and conceptuality, tradition and modernity, and individual and whole.
The exhibition showcases the convergence of elements toward completeness, as indicted by the subtitle, "Elements converged into a perfect close". However, this is not merely a physical combination, but an open-ended conclusion that is constantly reconstructed within the viewer’s perception. Through this, Heo Jeong-eun’s work sheds light on the fundamental issues of contemporary art, offering a new perspective on the discourse of contemporary visual art.
In this exhibition, the artist explores complex issues such as the materiality and conceptuality of artwork, the subjectivity of creation and interpretation, and the tension between completeness and openness. This goes beyond a simple aesthetic experiment, posing fundamental questions about contemporary society’s communication structure and the way meaning is generated. Heo Jeong-eun’s "Who Painted the Picture")not only demonstrates the modern potential of ceramic art but also serves as an experimental attempt to expand philosophical discourse on the essence of art.
Heo Jeong Eun Solo Exhibition
'누가 그린 그림'
Elements converged into a perfect close.
11/26 - 12/02
Opening: 11/27 at 5pm
Heo Jeong-eun deconstructs and reconstructs traditional artistic assumptions regarding the subjectivity of creation and the completeness of the work. This is not merely a material deconstruction, but a philosophical inquiry into the essence of the artistic act. The repetitive actions seen in the work may initially seem monotonous, but within them, the continuous changes and shifts in position create a tension and balance between opposing elements, opening up a new realm of meaning.
The fragmented ceramic elements presented by the artist evoke the segmented information of the post-digital age. Each fragment exists like an individual node in big data, coming together within a specific context to form new webs of meaning. This both metaphorically represents the structure of contemporary information society and suggests that the interpretation of the artwork is completed through the active participation of the viewer.
Noteworthy is the artist's use of the exhibition methodology called 'profiling.' By adapting the narrative structure of modern criminal investigation into the realm of art appreciation, this approach positions the viewer not as a passive recipient but as a co-participant in the creation of meaning. This attempt can be seen as a reinterpretation of Roland Barthes' concept of the "death of the author" from The Death of the Author, particularly in how it addresses the "birth of the reader" within the visual arts.
Heo Jeong-eun's work, which brings modernity into the traditional medium of ceramics, dismantles the binary boundaries between material and concept. The white ceramic fragments in the work function like deconstructed morphemes of language, and their collective arrangement generates a new semantic structure. This presents a third realm that transcends the dichotomies of materiality and conceptuality, tradition and modernity, and individual and whole.
The exhibition showcases the convergence of elements toward completeness, as indicted by the subtitle, "Elements converged into a perfect close". However, this is not merely a physical combination, but an open-ended conclusion that is constantly reconstructed within the viewer’s perception. Through this, Heo Jeong-eun’s work sheds light on the fundamental issues of contemporary art, offering a new perspective on the discourse of contemporary visual art.
In this exhibition, the artist explores complex issues such as the materiality and conceptuality of artwork, the subjectivity of creation and interpretation, and the tension between completeness and openness. This goes beyond a simple aesthetic experiment, posing fundamental questions about contemporary society’s communication structure and the way meaning is generated. Heo Jeong-eun’s "Who Painted the Picture")not only demonstrates the modern potential of ceramic art but also serves as an experimental attempt to expand philosophical discourse on the essence of art.