The ONE AND J. Gallery will hold Min ha Park's solo show, Sun Gone exhibition. Representation has long been understood as an inevitable approach to painting, but since modern times, the scope has been reduced to one of the many branches of methodology due to fundamental doubts about representation and changes in attitudes to art. But still, reenactment is one of many painters' methodologies, and painters constantly examine the possibility of reproduction and expand its extramaritality. In particular, the categories of 'conceptions' and 'imagination' of existing paintings, as they deal with the reproduction of non-permanent things, such as memories, materials, sensations, and emotions, suggest the possibility of breaking up, adding their own new methodologies, and spreading to paintings with different languages for each writer. Now for them, the topic of 're-enactment' does not mean the limits of painting, but is settled in a broader way of expression, picking up the debris that has fallen between the nets of perception.
Min ha Park also observes things that infiltrate into the unknown and cause a reaction at some point and puts them on the screen. This is a reproduction of invisible phenomena, and makes the viewer go through the process of having to understand the writer's sensuous and personal incarnation again in a private sense. Nevertheless, the various elements already shared within this process—colours, forms and languages—have ensured the universality of communication, thus making incomplete and clear dialogue possible through the author's conversation.
The author has long been invisible, but has at some point brought attention to the phenomena that manifest its existence with clarity, especially those that reach into the body as a stimulus and cause change. The works in Sun Gone, or Warp 75 and Ringxiety, which represent these phenomena on canvas, capture traces of the sensory/emotional instability experienced by the reactions of the skin mucosa, or the stimuli of sound and air. The causes and processes of when and what happen are very private, but they are common in everyday life and are therefore communicated more clearly than in language.
On the other hand, not only did the author use the colour, Burn Out Orange or Terminal Green have such a strong colour that they leave a long-lasting scar on our eyes, but the moments it reveals in our daily lives—the moment the fire rises red, the dreamy feelings of the green letters black like a scene in a matrix or a computer screen long ago—are also very intense. The remnants of such colours and the strong memories of them cause dizziness in the body's senses. At the same time, the author draws the colour from cadmium-mixed pigments, which become a material that is warned of carcinogens, or another reaction to the body. This reproduction of the non-visible things he proposed is delivered as a chemical to the surface of the canvas, leaving it as a remnant in the sensory organs of an unconscious bird.
In addition, the author introduces images that have long been roughened through digital media as media stereoscopic work and books. The exhibition runs from May 4 and is open free from 11 a.m. to 6 p.m. Monday and National Holiday Closed.
Press release courtesy One And J. Gallery.