Landscape Perceived

25 July - 15 September 2013 Seoul

Title | Landscape Perceived
Artists | Hyounsoo Kyung, Hyuk Kwon, Myoungjin Song, Jeongbae Lee
Date | 2013 07 25(Thu) ~ 09 15(Sun)
Location | Arario Gallery, Seoul
Works | Painting, Drawing, photography, sculptures


Arario Gallery hosts a group exhibition entitled “Landscape Perceived” from July 25th to September 15th at Arario Gallery in Seoul, introducing artists – Hyunsoo Kyung, Hyuk Gwon, Myeong-jin Song, and Jeongbae Lee - who each produce unique forms of landscape from their own, special perspective. The four featured artists, active in the domestic and international art scenes, present landscape pieces that feature worlds perceived and cognized through diverse social relationships and subjective viewpoints.


From classic, realistic paintings to modern and contemporary art, landscapes have ceaselessly changed in the flow of new materials and trends. The details and perspectives change, depending on the artist’s subjective view, intention, and degree of intervention, resulting in a wide variety of forms ranging from abstraction, geometric precision to faithful realism. Especially, contemporary landscapes have reflected the artificial image of the urban space as an artistic habitat, harboring nature and people alike. Such variations are represented as “perceived ladscape” in this exhibition, connecting the viewers with different versions of the world as we see it.

Press release

Arario  Gallery hosts  a  group exhibition  entitled  “Landscape  Perceived”  from  July  25th  to  August  18th  at Arario  Gallery  in Seoul,  introducing  artists  –  Hyunsoo  Kyung,  Hyuk  Gwon,  Myeong-jin  Song,  and Jeongbae Lee  -  who each  produce  unique  forms of  landscape  from  their  own,  special  perspective.  The  four  featured artists,  active  in the  domestic  and international  art  scenes,  present  landscape  pieces that  feature  worlds perceived  and  cognized through diverse  social  relationships  and  subjective  viewpoints. From  classic,  realistic  paintings to  modern  and  contemporary art,  landscapes have  ceaselessly changed  in the  flow  of  new  materials  and  trends.  The  details  and perspectives  change,  depending on  the  artist’s subjective  view,  intention,  and  degree  of  intervention,  resulting  in  a  wide  variety of  forms  ranging  from abstraction,  geometric  precision to  faithful  realism.  Especially,  contemporary  landscapes have  reflected the artificial  image  of  the  urban space  as  an artistic  habitat, harboring nature  and people  alike.  Such variations are  represented  as  “perceived  ladscape”  in  this exhibition,  connecting  the  viewers  with  different versions  of  the  world as  we  see  it. 



Hyounsoo  Kyung  (b.  1969)

The  Debris Division Series,  newly  introduced at  this  exhibition,  falls  in  line  with  the  themes  the  artist  has been  pursuing.  The  artist  goes a  step  further  from  the  previous Debris  series,  in which  she  deconstructs and  restructures  maps  –  objectified  data  of  the  city’s  construct  and  various aspects.  His  new  work, created  by cutting up  and  reproducing the  deconstructed  images,  appears to  be  maximizing  impromptu amusement  within  space,  but  is  in  fact  a  combination of  highly calculated,  derived  images.  The  images, produced through the  artist’s new  mechanism,  are  delightfully  yet  strangely entangled through the process of  segmentation  and amplification.  We  can  no  longer  see  traces of  precise,  objective  data,  which had  been  the  root  of  his  works.  As if  emphasizing  the  impossibility of  finding  novelty through reproduction,  the  images  in his  work shows free-floating imagination and playful  consciousness.   


Hyuk  Gwon  (b.1966)

Kwon  Hyuk,  an  artist  who  works  with  strings on  canvas  using the  stitch  technique,  draws  landscapes focusing on  water,  an  object  arising  from  time  she  herself  has  experienced.  To  her,  the  strings  are  brushes, and  the  canvas  is the  cloth.  The  body of  water,  drawn  with  sewing  machines  on acryl  colored  canvas, continues to  convene  and  disperse  as  the  mother  body that bears  the  energy of  all  substance.  The water’s  waves  are  metaphors of  the  artist’s  perspective,  expressed  in the  form  of  moving  energy full  of vitality people,  animals,  the  mountains  and  the  ocean emit.  The  invisible  and  voluntary  energy, incontrollable,  comes together  with  the  coincidental  strokes of  stitches  that  flow  on  regardless of  the artist’s  will  and  create  ample  texture.  The  combination of  the  small  stitched  dots are  collections of  each drop of  water,  and  the  view  of  water  that  has  been  a  critical  part  of  our  lives  as the  energy  inherent  in the  essence  of  substance.   


Myoungjin  Song(b.1973)

The  artist  has  been  presenting works that  emphasize  flatness,  filling the  canvas  with  ambiguous  forms that stimulate  the  viewers’  curiosity with  opaque  green as the  main  color  theme.  Her  artistic  world, unique  in  its structure,  has  been  expanding the  potential  of  painting by  pulling  together  the  flatness of drawings  and  the  internal  narrative  of  the  painting.  However,  her  recent  works  lack her  signature  green color,  and  are  instead  full  of  ambiguous  colors that  stand  in between skin-like  peach  and two  other colors.  The  forms on the  canvas consist  of  basic  shapes such  as  cylinders,  holes and  columns,  minimized and  simplified;  the  narrative  is gone;  and  the  spatial  construct  is  a  mixture  of  the  two  and  three dimensional.   However,  these  formations  still  lack  a  fixed frame,  and take  on a  mediatory shape,  constantly  shifting.  This form  is the  result  of  the  artist’s ceaseless  effort  to  intentionally avoid  the  illusory property of  painting,  and is an  experimental  attempt  to  highlight  the  flatness of  drawing.   


Jeongbae  Lee  (b.1974)

The  motifs  of  the  work,  springing  from  black  and  white  landscape,  include  the  peaks  and  ridges  of beautiful  mountain  tops  such  as  Insu,  Daecheung  and  Sulak.  The  ridges  on  the  canvas  naturally  bleed over,  creating  an  effort  like  traditional  ink-paintings.  However,  the  landscape  is  forcefully  segmented  and cut  away  from  the  overall  flow  of  the  ridge  in  the  frames  the  artist  intentionally  inserts,  and  somewhere along  the  ridge,  we  see  traces  of  human  contact.  The  segmented  peaks,  the  stone  cliffs  with  someone’s name  carved  into  it,  the  ridges  cased  in  steel  nets,  and  countless  holes  bored  in  for  rock  climbing  –  the artist  calmly  presents  the  vestiges  of  sadistic,  artificial  gestures.  These  features  represent  the  artist’s indirect,  reserved  commentary  on  how  mankind’s  desire  –  to  see  Nature  more  as  an  object  of  maneuver than  a  being that  encompasses  human  existence  as  such  –  is  expressed  in  the  landscape. 

Installation Views