Cloud Tree, Tree Cloud | Jina Jung Solo Exhibition | Prompt Project | Gaepo-ro 17 -gil, Gangnam-gu, Seoul | 서울특별시 강남구 개포로17길 28 B1, 2-3F | Mar 9 - Apr 16, 2023 |
Cloud Tree, Tree Cloud | Jina Jung Solo Exhibition | Prompt Project | Gaepo-ro 17 -gil, Gangnam-gu, Seoul | 서울특별시 강남구 개포로17길 28 B1, 2-3F | Mar 9 - Apr 16, 2023 |
The unfamiliar situation emerges from ambiguity. The “virtual” landscape consists of obscure scenes that could or could not be true, but the creative devices and the constituent objects are in fact based on the perceived, physical, and actual things in reality. The uncanny scenery captures the moments of intangible movements and subverts the logic of nature.
Jina Jung has always been fascinated by the changes in nature. Two of the earliest works presented in Fragmentary Forest, both titled Scenery (2016), show such fascination. Treating the canvas like a palimpsest, Jung has captured the changing appearance of mountains and lakes by repeatedly erasing and renewing the painted surface with new layers of paint. One can feel the breeze through the brisk brushstrokes, and varying depth of light and water through the grainy surface as well as parts of the picture wiped out by white paint.
Jina Jung has always been fascinated by the changes in nature. Two of the earliest works presented in Fragmentary Forest, both titled Scenery (2016), show such fascination. Treating the canvas like a palimpsest, Jung has captured the changing appearance of mountains and lakes by repeatedly erasing and renewing the painted surface with new layers of paint. One can feel the breeze through the brisk brushstrokes, and varying depth of light and water through the grainy surface as well as parts of the picture wiped out by white paint.
More recent paintings, developed in parallel to Jung’s first experience working with 3D and virtual reality (VR) software, reveal her new way of exploring nature. One of her inspirations is Joseon dynasty folding screen paintings that are drawn in non-linear perspective, yet do not deter her from entering the depicted space.
More recent paintings, developed in parallel to Jung’s first experience working with 3D and virtual reality (VR) software, reveal her new way of exploring nature. One of her inspirations is Joseon dynasty folding screen paintings that are drawn in non-linear perspective, yet do not deter her from entering the depicted space.
The Action of water falling down or flowing over a floodplain is felt even more strongly in Fragmentary Waterfall (2020) series, which focuses more analytically on a particular part of a landscape. Meanwhile, small sections left white, most conspicuous in Fragmental Lights series, offer another entry point to the animated environment. There, we are surrounded by rolling mountains, growing forests, sheets of water falling, and the sun beating down.
The Action of water falling down or flowing over a floodplain is felt even more strongly in Fragmentary Waterfall (2020) series, which focuses more analytically on a particular part of a landscape. Meanwhile, small sections left white, most conspicuous in Fragmental Lights series, offer another entry point to the animated environment. There, we are surrounded by rolling mountains, growing forests, sheets of water falling, and the sun beating down.
2015 -2011
Throughout all my paintings, I seek to portray the invisible forces of nature, and allow the viewer to feel like they are in nature. I try to do so while at the same time focusing on the relationships between humans and nature. More specifically, I try to communicate the feeling within that moment that allows for a deeper contemplation of the relationship between both the visible and invisible natural elements. Following this idea, I draw the atmosphere so that the audience can see through these ‘invisible layers.’
