Hyeyeon .Chung
Critical Reflection
Fig.1
Untitled (Traffic Light)
Hyeyeon Chung
Gouache, ink on linen
10x15(5) cm
2023
Unveiling hidden perspectives, the light orchestrates a symphony of focus and sensitivity.
Like ink on a vast ceiling canvas, its beams embroider patterns of guidance, uniting paths in this tapestry.
Witness the intricate dance of time and space, as chromatic signals command order amidst the chaos.
- From Note 8 Oct 2023
Embarking on a fresh chapter here in London Sep 2023,
I bring with me a background rooted in Korea, where I specialize in traditional Korean painting, particularly in sumi-e. This fusion undoubtedly aligns with the realm of drawing. Now, as I set foot in England, I am eager to open a new page in my artistic journey.
My intention is to broaden my artistic horizons, delve into deeper explorations, and expand the scope of my visual expressions.
Themes such as landscape painting, monochromatic techniques, intricate patterning, labor-intensive processes, and targeted perspectives are intricately interlaced, forming a weaving that mirrors my creative narrative within the art world. The monochromatic palette, a product of my research during my undergraduate years in Korea, transforms into a visual perspective, embodying memories that echo the essence of giving and continuity.
As my artistic journey unfolds, it takes me to various places, prompting explorations into the nuanced relationship between scenery and painting. I grapple with the materialization of artistic endeavors, facing challenges in bringing my visions to life. Deliberately positioning my paintings within the ambush of modern art, I navigate the intersection between tradition and contemporary expression.
Fig.2
Landscape and Drawing: A line of sight and perspective
. . . our entire landscape tradition is the product of shared culture, it is by the same
token a tradition built from a rich deposit of myths, memories and obsessions. . .
—Schama 1995, p. 14
As I delve into conversations about my landscapes and the inherent tensions conveyed through my artistic brushstrokes, I've centered my exploration on the dual nature of landscapes. They exist not only as subjects to be observed but also as distinct perspectives through which we view the world—the land and the manner in which we perceive it (John, 2007, p. 55).
That which we can identify with Renaissance notions of perspective in the visual arts and Cartesian ideas of subjective rationality in philosophy’ (Jay, 1992, p. 179). And specifically linked to the illustration of the connections between culture and environment. Together with related disciplines like photography, poetry, and literature, landscape painting serves as a vital medium for creating and disseminating meaning through visual symbols and representations (John, 2007, p. 55-56).
For individuals and places that now have to reevaluate their place in the world, globalization—with all of its implied flows and strengthened horizontal and vertical interdependencies—has become an ongoing issue (Dollfus, 1998). This debate is becoming more important, as argued by Johnston (1998) and Dicken and Öberg (1996), in part because the world is now demonstrating the possibility of a rapid and robust rate of change.
Fig.3
Eva Hesse
Untitled (1967)
Tate
Drawing is often recognized as a part of the work of art or artists, an auxiliary role in the previous stage, or a complete work done as a drawing itself. But, "Drawing is a complex, energetic, and ever-contemporary activity. Art-especially the discipline of drawing along with philosophy, history, and literature helps us interpret our experiences visually, emotionally, and aesthetically (Sale.T, Betti. C"2008, p. 3-4). " Moreover, Drawing gives us a platform for communication; it allows us to have conversations with spectators and with ourselves. It involves us on profoundly intellectual, emotionally, and spiritually.
Drawings have a unique attraction as an art medium because of its immediacy and capacity to disclose the creative process. Drawings can be conceptual, whimsical, theatrical, lyrical, didactic, autobiographical, political, polemical, or instructive (Sale.T, Betti. C 2008, p. 3-4).
Fig.4
A targeted landscape: fragment in the landscape
As My work begins, the pieces deeply rooted in memory receive a new injection of historical impact, combining with the inner feelings of the current viewpoint to create a composition reminiscent of a collage.
The fusion of the newly formed space from the past with the current self, fashioned by many media stimuli, is crucial to this process. In the end, the area gets rebuilt, going from a place that was clearly "mine" but is no longer physically there. There are feelings in this rebuilt area that are not the same as in previous times.
They are felt in the quickening pace at which space and time are compressed, as well as in behaviors and values, particularly in the way that geographic space is viewed, memories are reinterpreted, and every location and its inhabitants are connected to its history and legacy (Harvey, 1999).
I aim to capture the evolving essence of my surroundings, marked by constant changes since my childhood, as I navigated various locations in Korea, Berlin, Cork, and London. Documenting these landscapes through photography, I noticed the intriguing choices of what caught my eye and where my steps lingered—an unknown oddness etched into my memory.
This experience inspired my theme of 'Improvised Collection of Landscape.' In my artistic process, spontaneity reigns; The allure of black and white holds a special place for me, adding depth and richness that transforms a painting into a truly expressive piece. It's within the convergence of limited hues and subjects that a distinct sentiment emerges, shaping my artistic narrative.
Fig.5
Expanded Expansion
Eva Hesse
1969
Fiberglass, polyester resin, latex and cheesecloth
122 x 300 inches (309.9 x 762 cm)
overall Solomon R. Guggenheim Museum, New York Gift, Family of Eva Hesse, 1975 Photograph by David Heald
This unit 1, the central theme of my art practice expanded beyond the existing landscape collection, honing in on the narratives within specific focal points. The new series comprises edited images of sceneries I've encountered, aiming to delve deeper into the stories encapsulated within them. Executed as black and white drawings resembling embroidery, these images unfold on two circular canvases.
Inspired by the crosshair of scope, the series captures scenes where a hunter or a bird enters the scope, accompanied by the closed cover suggestive of a blacked-out image. Am I taking aim or am I being aimed at? It's an exploration into the perspective of the observer, weaving a narrative that merges the artistic with the symbolic.
Fig.6
Untitled (dawn)
Indian ink on Linen
30 X 30 x 4 cm (2)
2023
Fig.7
Unexpected news and twisted scenery
November 19, 2023
The sudden news of my mother's cancer diagnosis has cast a heavy shadow over my artistic journey, sparking doubt about the trajectory of my practice. I've always sought to weave the unexpected and intentional into my creative narratives, but this personal upheaval introduces an empty.
The persistent question echoes - why now? This moment feels like a harsh estrangement from my home, a disconnection both physical and mental that fosters resentment in the face of this unfortunate situation.
In the wake of the shock and self-blame prompted by my mother's illness, the past 10 days have seen me feeling profoundly detached from both my classes and my art practice. Concurrently, I grapple with maintaining a sense of balance in my role as a researcher.
Fig.8
Back to London Again
Returning to London, a reflective look at Unit 1 reveals the profound impact of my past on my artistic journey, embodying an ongoing quest for self-discovery within the intricate landscapes of personal growth.
As I progress into Unit 2, aligned with the academic research, my focus shifts to delving into more nuanced research cases. Intent on contemplating and defining my art's position and meaning, I seek to contribute to a narrative that evolves, encompassing both personal and creative dimensions. I aim to intricately weave together the significance of landscape in my art with my background, exploring elements such as fabric, patterns, decorative imagery, repetition, and mirroring.
Reference
Schama, S 1996, Landscape and memory, Alfred A. Knopf, New York.
Jackson, J 2012, The Constructed Forest: Weaving Landscape, Pattern and Ideas in Contemporary Art (Doctoral dissertation, Griffith University).
Whelan, Y 2007, Heritage, Memory and the Politics of Identity : New Perspectives on the Cultural Landscape, Taylor & Francis Group, Abingdon. Available from: ProQuest Ebook Central. [23 January 2024].
Grant, K. (2017) All about process: the theory and discourse of modern artistic labor. 1st edn . Pennsylvania: The Pennsylvania State University Press
Wylie, J. (2007) Landscape. 1st edn. Phil Hubbard: Routledge.
Sale, T. Betti, C · (2012) Cengage Advantage Books: Drawing: A Contemporary Approach Cengage Learning . 6th edn . Clark Baxter
List of Images
Fig.1 Hyeyeon, C (2023) Untitled (Traffic Light) [Drawing]. Camberwell college of arts (Viewed: 18 Dec 2023).
Fig.2 National gallery of collection. https://www.nationalgalleryimages.co.uk/ (Accessed: 13 Jan 2024).
Fig.3 Eva, H (1967) Tate of collection. Available at: https://www.tate.org.uk/art/artworks/hesse-untitled-t04151 (Accessed: 13 Jan 2024).
Fig.4 Hyeyeon, C (2023) Work process video [Digital art]. Available at: https://www.chunghyeyeon.com/ (Accessed: 10 Jan 2024).
Fig.5 Eva Hesse (1969) Solomon R. Guggenheim Museum, New York Gift, Family of Eva Hesse, 1975. Available at: https://www.guggenheim.org/artwork/1648 (Accessed: 15 Jan 2024).
Fig.6 Hyeyeon, C (2023) Untitled (dawn) [Drawing]. Camberwell college of arts (Viewed: 18 Dec 2023).
Fig.7 Hyeyeon, C (2023) Homesick [Digital art]. Available at: https://www.chunghyeyeon.com/ (Accessed: 10 Jan 2024).
Fig.8 Chung, HY. (2024) 'Unit1assignment'. Camberwell college of arts. Unpublished.