이러한 열린 태도 속에서도 그가 회화 작업 시 유독 최소한의 도구와 절제된 요소만을 고집하는 이유는 분명하다. 지극히 작은 요소들과 단순함만으로 이끌어낼 수 있는 시각적 경험과 파장이 과연 얼마만큼 깊고 넓게 확장될 수 있는지, 그 한계를 시험하고자 하는 실험적인 도전 의식 때문이다. 이러한 의지 아래 그의 작업은 한 가지 크기의 붓으로 반복하여 쌓아 올린 선과, 도구를 배제한 채 손가락으로 직접 찍어 낸 점들이 이루는 절제된 변주를 보여준다. 작가는 형태적 도구를 최소화할 뿐만 아니라 색채 역시 극도로 아껴 미묘한 톤의 변화만으로 화면을 구성함으로써 단색화적 호흡을 이끌어낸다.
이러한 형태와 색상의 절제는 최소한의 조형적 언어와 단순한 시각성을 통해, 오히려 회화적·철학적으로 인간 내면 가장 깊은 곳까지 도달하고자 하는 작가적 응전이다. 겹겹이 쌓인 선의 레이어와 손끝의 압력으로 새겨진 개별적인 점들은 캔버스 안에서 독립적인 존재로 숨 쉬며, 시각적 단순함 너머의 무한한 공간적 확장을 이뤄낸다. 온전히 신체를 던져 수행하는 그의 점과 선은 반복과 지속적인 노동을 통해 시간과 에너지, 기억이 축적된 삶의 기록이자, 비워냄으로써 비로소 도달하는 깊은 내면의 세계이다.
Chan Min Jeong is a Seoul-based artist who has firmly built her artistic world around two-dimensional painting as her core practice. Extending far beyond painting, she consistently expands her horizons into diverse media, including installation and video art, while utilizing her drawings as organic mediums to meticulously prepare and connect these spatial and moving-image works.
Within her artistic realm, which remains continuously open to multi-disciplinary approaches, the formal boundaries between abstraction and figuration become entirely meaningless. For the artist, what matters is not the distinction of form, but the expression of essence.
Yet, despite this open attitude, there is a clear reason why she strictly adheres to minimal tools and restrained elements when focusing on her paintings. It stems from an experimental spirit of challenge—a desire to test just how far the visual experience and resonance derived from such minute elements and absolute simplicity can expand. Driven by this conviction, her practice reveals a disciplined interplay between lines built up through the repetition of a single-sized brush and dots pressed directly onto the canvas with her fingers, deliberately bypassing excessive tools. By minimizing formal instruments and strictly restricting her palette, she evokes the meditative depth and essence of Dansaekhwa (Korean monochrome painting) through subtle tonal variations alone.
This rigorous self-restraint of form and color serves as an artistic and philosophical challenge: utilizing the most minimal formal language and visual simplicity to reach into the ultimate depths of the human inner self. Each layered brushstroke and fingertip mark breathes as an independent, individual presence within the canvas, expanding infinitely beyond its visual simplicity into a profound spatial resonance. Engaging the canvas through direct physical devotion, her work stands as a sacred record of life where time, energy, and memory accumulate through repetition and sustained labor—ultimately unveiling a profound inner landscape achieved through the act of emptying.
Fine Arts, Brooklyn, NY, US
1996 BFA, Duksung Women’s University
Paintings, Seoul, KR
2013 Psychological Still Life, DMC
Gallery, Seoul, KR
2009 Psychological Landscape,
Grimson gallery, Seoul, KR
2006 Myself into the Painting -
Psychological self portrait, insa art
center, Seoul, KR
2004 Hydrospace, Mesquita Calvo
Serrano 2, NY, USA
2001 Myself into the Painting, Steuben
West Gallery, NY, USA
2022 A Special Exhibition Celebrating
the 60th Anniversary of Korea-
Jordan Diplomatic Relations:
Solidarity and Hospitality, National
Asia Culture Center, Gwangju, KR
2022 Seoul Amman Anthology,
Spectrum Gallery, Seoul, KR
2009 Unhyeungung Ae, KWANHOON
gallery, Seoul, KR
2008 Appearance & Reality, Grimson
gallery, Seoul, KR
Brooklyn Express: Exposed,
KWANHOON gallery, Seoul, KR
2007 Incheon Modern & Contemporary
Art Exhibition: Its History, Memory
and Vision, Incheon Culture & Art
Center, Incheon, KR Brooklyn Express: Buffering,
Seoul Museum of Art, Seoul, KR
2006 Print Box, Space Ham, Seoul, KR
Brooklyn Express: Interface,
Seoul Museum of Art, Seoul, KR
2005 Exhibit-Jan, Mesquita Calvo
Serrano 2, NY, USA
2003 Achromycin, Gallery Space 609,
NY, USA
2001 Floating Grass, East Hall Gallery,
NY, USA
Exhibit: B, Mesquita Calvo Serrano
2, NY, USA
Contact
coloris2007@gmail.com
@jcm_art_official