Choi Soo Jung’s paintings are imbued with narrative and memory, breaking the limits of the canvas to explore liminal states and diverse, imagined worlds where fiction and reality collide. Her pieces examine the relationships between the artist and their work, and the artwork and the viewer.
Soo Jung Choi was born in 1977. She received her BFA from the College of Fine Arts at Hongik University in Seoul in 2001 and her MFA from the College of Fine Arts at Seoul National University in 2004. She then moved to Scotland to study for an MFA at Glasgow School of Art (which she earned in 2008) before returning to Seoul.
Soo Jung Choi’s paintings exist beyond their surfaces: her brush strokes suggest light and she concentrates on the physicality of making and revealing images. She combines her painting practice with sound, sewing thread, objects and text, and makes use of recurring motifs. Soo Jung Choi uses her art to examine the processes by which memory and sensation connect to images, creating new relationships between the viewer and the objects she represents.
Her work uses the philosophical concepts of Mugan (無間), Gonggan (空間) and Hyeongan (玄間) to examine perception, relationships and transformation. Mugan (無間) represents continuousness but also a lack of distance, Gonggan (空間) describes physical space, and Hyeongan (玄間) is the interval, the tension between connection and alienation, a place to find light in darkness. Balancing intimacy and distance also avoids repetition and disconnection.
Soo Jung Choi embroiders coloured threads over shapes painted in acrylics. The thread adds layers to the work, allowing her pieces to move between two- and three-dimensionality.
Soo Jung Choi’s work features recurring motifs that suggest transformation and metamorphosis between identities or multiple selves. Some of her repeated elements include clowns and masks, as well as flames, old postcards, minerals and ruins.
Talking about her 2008 MFA from the Glasgow School of Art, Soo Jung Choi explained that she scatters small “trivial images” from everyday life, adding: “Small representational images, which appear isolated from any precise context in my paintings, give the possibility of various interpretations to each individual viewer, almost like a flashback.”
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