Past Exhibition
KoreanABOUT THE ARTIST
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Lee Hyunjoung (b.1972- Korea / live and works in Paris)
A graduate in visual arts from Sejong University in South Korea, Lee Hyun Joung develops a series of ink landscapes based on memories of her native country, which she mixes with dream projections of vast, unreal places. The single horizon line is replaced by a multitude of parallel and sinuous lines, which split and accumulate like geological strata or sediment ripples, giving a reading grid to these aerial views without scale or proportion.
Tending towards abstraction, detail is evacuated in favour of the sensation of infinity and the uncertain nature of the element represented : a wave could just as easily be a mountain. Between each uninterrupted line, the blank space left vacant on the paper is not an inactive blank space. It corresponds to the idea, widely held in Taoist thought of emptiness and fullness, that the interval is what makes the connection between visible objects. And it is precisely after a period of silence, points out Lee Hyun Joung, that a line emerges : something happens against a background of nothing.
The lines, created to the rhythm of her body, are superimposed like musical staves or the ripples of the foreshore left by the low tide : they swell and recede like a breath. Lee Hyun Joung likens these forms to a path of life, an initiatory walk that is less a matter of a delimited stage than of a cyclical time, the one the Greeks called aiôn. Like the nature (desert, land, sea) to which it refers, each line drawn in ink tends to be generic, i.e.
Abstracted from the artist's personal journey to have a more universal scope. Almost exclusively blue or black, the ink is also writing, which Lee Hyun Joung deploys on hanji sheets, popular Korean papers made from mulberry pulp. In Korea, hanji paper is traditionally used for calligraphy, wallpapering the walls and windows of the house, and making objects. Mulberry leaves are immersed in water, kneaded, dried, cut and the scraps are reintegrated to shape other leaves of which the artist preserves the irregularity and thickness of the fibres. The resulting support is a material-palimpsest, like shreds of memory accumulated to form a blanket.
Lee Hyun Joung also evokes the traditional technique of bojagi, a kind of Korean patchwork transmitted from generation to generation, whose primary function is prophylactic and potropaic. She reports that as a child, she was already inventing landscapes from the damp stains on the hanji paper that covered the floor of her house.
Tending towards abstraction, detail is evacuated in favour of the sensation of infinity and the uncertain nature of the element represented : a wave could just as easily be a mountain. Between each uninterrupted line, the blank space left vacant on the paper is not an inactive blank space. It corresponds to the idea, widely held in Taoist thought of emptiness and fullness, that the interval is what makes the connection between visible objects. And it is precisely after a period of silence, points out Lee Hyun Joung, that a line emerges : something happens against a background of nothing.
The lines, created to the rhythm of her body, are superimposed like musical staves or the ripples of the foreshore left by the low tide : they swell and recede like a breath. Lee Hyun Joung likens these forms to a path of life, an initiatory walk that is less a matter of a delimited stage than of a cyclical time, the one the Greeks called aiôn. Like the nature (desert, land, sea) to which it refers, each line drawn in ink tends to be generic, i.e.
Abstracted from the artist's personal journey to have a more universal scope. Almost exclusively blue or black, the ink is also writing, which Lee Hyun Joung deploys on hanji sheets, popular Korean papers made from mulberry pulp. In Korea, hanji paper is traditionally used for calligraphy, wallpapering the walls and windows of the house, and making objects. Mulberry leaves are immersed in water, kneaded, dried, cut and the scraps are reintegrated to shape other leaves of which the artist preserves the irregularity and thickness of the fibres. The resulting support is a material-palimpsest, like shreds of memory accumulated to form a blanket.
Lee Hyun Joung also evokes the traditional technique of bojagi, a kind of Korean patchwork transmitted from generation to generation, whose primary function is prophylactic and potropaic. She reports that as a child, she was already inventing landscapes from the damp stains on the hanji paper that covered the floor of her house.
EDUCATION | |
1994 | Sejong University, Department of visual art |
1996 | Formation d¡¯orfèvre, Paris |
1998 | Ecole B.J.O (Bijouterie, Joaillerie, Horlogerie), Paris, France |
Ecole AFEDAP (Bijouterie, Joaillerie, Horlogerie), Paris, France | |
C.A.P (Certificat Aptitude Professionel), Paris, France | |
EXHIBITION | |
2023 | Infinity Path: Lee Hyunjoung Solo Exhibition£¬The Columns Gallery£¬Seoul |
2023 ȶû¹Ì¼úÁ¦£¬The Columns Gallery£¬Seoul | |
¾ÆÆ®ºÎ»ê£¬The Columns Gallery, Busan | |
Lee Hyunjoung, Louis&Sack, Paris | |
Tokyo Gendai, The Columns Gallery, Yokohama, Japan | |
2022 | Asia now Salon international, Paris, France |
Solid¡¯art Carreau du Temple, Paris, France | |
Landscapes IKFF Gallery, Belgium | |
2021 | IDA Medicis Art Galerie, Paris, France |
Galerie ArtsKoco, Luxembourg | |
Biennale européenne Blanc manteaux Paris, France | |
Mediatheque Hélene Berr Paris 12eme, France | |
2020 | Summer Exhibition, Royal academy of London |
IDA Medicis Art Galerie, Paris, France | |
2019 | Salon D¡¯automne£¬Paris, France |
Feasts on Paper Art biennale, Shanghai, China | |
Beyond Borders Art Exhibition, with association « Les enfants de Mekong », Hongkong | |
IDA Medicis Art Galerie, Paris, France | |
2018 | Foundation Taylor, Paris 9eme, France |
Galerie ArtsKoco, Luxembourg | |
Galerie Plexus, Montreux, Swiss | |
2017 | Galerie Montparnasse Ville de Paris, Paris, France |
Shanghai Art Fair, Shanghai, China | |
Canton Art Fair, Guangzhou, China | |
Art Capital - Grand palais Paris, Taylor Prize | |
2013 | Reflection, exhibition with France Eclat, Palais de Tokyo |
2012 | Gallery B, Paris, France |
2011 | Gallery 89, Paris, France |
2009 | Gallery 5 etoiles, Paris, France |
2005 | Rétrospective, Paris, France |
2004 | Migration de l'âme, Paris, France |
2002 | Objet et ses souvenirs, Esprit Buissonnier, Paris, France |
2000 | Voyage de Tahiti, Maison de Tahiti, Paris, France |