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Euyoung Hong 'Fragmented Space'
Youngeun Museum of Contemporary Art, Korea

9 April - 12 June, 2011

by Jienne Liu (Curator, National Museum of Contemporary Art, Korea)

2011

- This exhibition review was published in monthly Korean art magazine, Wolgan Misool, June, 2011. www.monthlyart.com


The exhibition Fragmented Space presented by Euyoung Hong comprehensively shows the artworks that the artist has been working on up to the present. Photographic works, Re-moved Space, which document a white emptied space and traces of lines on the walls, and the series of Fragmented Space 1, 2 and 3, constructed by utilizing real objects, are exhibited.

An attractive point of this exhibition is that it provides a new sensibility of the object through each series of Fragmented Space. In series 1, such a spatial sampling is extracted from white walls: white painted objects are installed on the white walls. The impression of this work is that the everyday lives of human beings expressed in the space and the human feelings, such as joy, anger, sorrow and pleasure, which pervade it, are concealed. However, when we look at this work closely, the clues that can be discerned from the original texture, the form, and the colour of the objects, rather stimulate the viewers’ imagination. Fragmented Space 2 is also a part of space, painted in all white or grey, which emphasizes the accumulation of objects and the spatial fragmentation. This varied accumulation of objects, which appear to protrude from the wall, strongly reveals a surrealistic sensibility. The situation formed by the fragments of objects is definitely not the same as an ordinary scene of everyday life and provides a certain aspect of which the whole is difficult to estimate, as only a part is presented. It is impossible to grasp the complete whole through such a limited visible part; in addition, the direction of the work contributes to this chaos. Fragmented Space 1 implies everyday life as holding, to a certain extent, a horizontal and vertical point of view by placing a wide background space on the floor, which seems detached from the wall of a real domestic house. Fragmented Space 2 is narrowly hanging on the gallery wall, sustaining its slanting angle. The existence of a work of art thus emerges through its position, presenting a new angle and visuality completely different from the directionality of people’s familiar points of view and blurring the situation proposed by the work, whether it comes from either birth or destruction resulting from an explosion.

Fragmented Space 3, however, shows a completely different aspect. Unlike Hong’s other works, it directly discloses the real appearance of objects, which had been concealed until now. Through the emergence of the texture, colour, material of objects and undetached complete form, the sense of real objects can be felt in the small part of the space. The identity of space, which seems impossible in the artist’s white painted works, can now be grasped. But Hong acts indistinctively by positioning the space of the work between the real, illusion and theatre. This is because the black rolled fabric is placed on top of the construction. Like a stage curtain, the viewers’ imagination of the space can be stretched out through the setting.

Hong’s sculptural work can be considered as an honest confession of space, rather than a bluffing exaggerated wrapping up of it. This is definitely supported by the artist’s sensibility of space. Hong considers a space as one in which the mental, physical and, moreover, social situations of individuals are embedded and mingled; from there, conflicts and contradictions can be revealed again through the space. A space as a result – discovering a space that we would like to conceal or, by contrast, an undiscovered part – makes us rethink the world where we live and the situation that we encounter through erasure, transformation and exposure.

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