The absurd Journey

Kim, Eun-jung (Art Management/Art Consultant)

Artist Im, Sun-yi holds her third exhibition with series work called The absurd Journey. She was selected by the national art studio in Chang-dong, Seoul as a member of 5th period in 2006-2007, and joined the invitation exhibition held at Songeun Arts and Cultural Foundation in 2006 and the temporary exhibition titled Selected Emerging Artists held at Seoul Museum of Art the same year. As the above-written, she is working as an outstanding artist of ability.

Viewers can notice her own unique tone in her works which resemble herself with familiarity and comfort, because all qualifications such as matters from nature, colorlessness, repeatability with freshness, and delicacy involve her works. The extreme understate mental conflict of artist's deep inner world is refined and appears in the works. She finds her identity, reveals mental conflict intermittently as floating on the open sea alone, and makes the circumstances communicate with others by creating the works. Burden from tired life of people in the rapidly changing modern city, absence of identity, and mental conflict made of them are expressed into topographic condition of island as isolation and uniqueness metaphorically in her previous series works. In her first solo exhibition titled shelter at Do Art gallery, Seoul, she represented and projected viewpoint toward variable outer circumstance, changing cognitive difference, and images of city dwellers living in modern urban civilization watched by Im on this exhibition. Cactus used as a motif of her own interpretation and new expression way is placed on the floor like another being which is deprived of green and made of rough, colorless cement. This is the artist's contemplative view on the reality toward metaphoric, emotional meaning, and a process of realization about the way of finding herself. Alleviating mental conflict by collective, mechanical, repetitive work, and concentration from a process of detailed casting are chosen as a way to solve the problem of conflict which is not faced on her.

She makes the issues and the approach about them that she has searched for more implicative, deeper and wider in this solo exhibition. Seeing and the seen. Journey gives us new expectation and romance. She takes journey as a text with delicate form reflecting the artist's realization by nature which embraces difference and strangeness in new surroundings. Achievement of the journey depends on likes and dislikes about emotional response forming a process of realization. Imprinted circumstance by stereotype and conflict generated from difference of interpretation's view willing to see the circumstance are comprised in communication as a possibility actively. She tries to ask about notion, especially, structural difference of thoughts, and arouse the boundary point to new viewpoint.

Im tells about first literal definition of the word absurd, but also symbolism of the other meaning of the word. The visual, symbolic message is visualized to mountain scape as a cradle of life and collection of nature. Mountains are the place of oppositional coexistence; seeing and the seen, and the civilized and the wild. And they are variable scape which changes natural color and living things according to the season. Observation and change of the realization on the scape, and our life with it are reflected on the works deeply and emotionally.

Thousands of topographic map of Mt. Inwang printed by red color is piled on a large square mass in Natural Scenery Through Red Eyes. Remodeling work to cut the contour of the map creates a new complex scape. One of our natural surroundings, Mt. Inwang is chosen as a double link which has accessibility and visuality. Red color is represented Im's eyes. The inflamed eyes become an indicator of communication derived from difference of view about seeing and the seen.

Structural form of the mountain is seen at a lookdown in Climb and See, and shading of piled contour is maximized according to view point in Natural Scenery Through Red Eyes. This is for creating two narratives to generate another space in the exhibition hall. Visual change by repetitive approaching and retreating, and infinite imagination from process like this make viewers concentrate spacial experience actively. In series work Natural Scenery Through Red Eyes, the photograph by Lamda printer which shows closed-up certain part lets us create an illusion as if we're travelling somewhere around deep canyon. Looking at the photograph on the exhibition wall, viewers pay attention to the work installed the floor naturally. However, Im excludes correlation of the photograph with the installed work. Suggestion of thought with objective, understate formal structure is generated without emotional effect exquisitely. Change of curve according to width of contour evokes another visual excitement. The scape in the photograph can be another scape imagined by viewers.

Im makes viewers imagine virtual reality which is seen, but not existent rather than somewhere they are familiar with or imprinted natural scape where they never have been. The possibility of multilateral, approachable, interpretative method of seeing by the seen and overlapping existence of real scape on artificial, imaginary scape through the process has it's openness. This is an experimental mind to make us present, look at ourselves and communicate with each other. She wants to make us look at her works with eyes of difference of variable realization, but also with eyes of simple, understate description and suggestion of symbolic meaning, because the journey she wants to have means to achieve the diversification of living scape.