Myself into the painting
Psychological Landscape    

2009
Psychological landscape
My paintings are consists of layers of lines.  When I create the brush lines, I begin with random, unplanned starting points.  Yet, lines have been controlled by my esthetic value since (as soon as) they depart their starting points.  I intend to control each brush lines till their ends, as if I try to make up the insufficient beginning plane. I also take the responsibility for the unsatisfactory; the unsuccessful lines derived from unconsciously started brush lines. All the lines (whether they satisfy my esthetic sense or not) are contained in my art work.

...

My painting includes the process of making my art work.
My life is the process of the accomplishment.
The beginnings are the chances.
The results are up to me. Myself. Inevasible…

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2009
Psychological landscape






2013
Psychological still life
Martin Kippenberger
Not to Be the Second Winner
Aldo Rossi chair on base
1987

Lorem ipsum dolor sit amet, consectetur adipiscing elit. In porta ex a porta blandit. Suspendisse feugiat justo at mauris molestie molestie. Ut mattis urna sed sem pulvinar, vitae rutrum nulla ultrices. Curabitur laoreet erat et sapien venenatis luctus.

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Solo Exhibition 

Psychological Still Life
2013 DMC Gallery
Seoul, KRPeter Fischli and David Weiss
Installation view, Monika Sprüth Galerie, Cologne, May 5–July 29, 1995

Lorem ipsum dolor sit amet, consectetur adipiscing elit. In porta ex a porta blandit. Suspendisse feugiat justo at mauris molestie molestie. Ut mattis urna sed sem pulvinar, vitae rutrum nulla ultrices. Curabitur laoreet erat et sapien venenatis luctus.

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2014 - 2015
Psychological Still Life
 Drawing Series






2020 - 2025
My spectrum





















Profile
정 찬 민
Jeong Chan Min

coloris2007@gmail.com
Instagram @jcm_art_official정찬민은 서울을 기반으로 활동하는 작가로, 평면 회화, 드로잉, 설치 작업을 중심으로 작업해왔다. 그의 작업은 붓질과 제스처의 축적을 통해 인간 존재와 집단성에 대한 은유를 탐구한다. 하나의 붓질을 캔버스 안에서 독립적이고 개별적인 존재로 상정하며, 각 흔적에 시간과 신체적 에너지, 의식적인 집중을 담아낸다.

그의 작업은 반복과 지속적인 노동을 통해 시간과 에너지, 기억이 축적된 기록으로 완성된다.

드로잉과 설치를 포함한 다양한 매체를 다뤄왔으나, 최근에는 평면 회화에 더욱 집중하며 재료의 물성—점도, 투명성, 표면의 깊이—을 탐구하고 있다. 템페라, 아크릴, 에나멜 등을 사용하여 개별 요소들이 모이고 겹치며 공존하는 회화적 공간을 구축한다.



Chan Min Jeong is a Seoul-based artist who has worked primarily with painting, drawing, and installation. Her practice explores human existence and collectivity through the accumulation of brushstrokes and gestures. She considers each brushstroke as an independent and individual presence within the canvas, investing time, physical energy, and conscious attention into every mark.

Her work is completed as a record in which time, energy, and memory are accumulated through repetition and sustained labor.

While her practice has encompassed various media including drawing and installation, she has recently focused more intensively on painting, exploring material qualities such as viscosity, transparency, and surface depth. Working with tempera, acrylic, enamel, and mixed media, she constructs pictorial spaces in which individual elements gather, overlap, and coexist.








Education
2001   M.F.A, Pratt institute Painting In Fine Arts, 
            Brooklyn, NY, US
1996   B.F.A, Duksung Women’s University Paintings, Seoul, KR


Solo Exhibition 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, US

2001   Myself into the Painting, Steuben West Gallery, NY, US

Group Exhibition2022   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

2006   Brooklyn Express: Interface, Seoul Museum of Art,
            
 Seoul, KR

2005   Exhibit-Jan, Mesquita Calvo Serrano 2, NY, US

2003   Achromycin, Gallery Space 609, USA

2001   Floating Grass, East Hall Gallery, NY, US
         
            Exhibit: B, Mesquita Calvo Serrano 2, NY, US







Last Updated 26.01.31.




1999 - 2001
Myself into the painting
필연적 얽힘, 미지의 흐름

 (Inevitable Entanglement, Unknown Flow)



나의 작업은 인간과 자연, 그리고 신(神)이라는 세 개의 거대한 축이 맺고 있는 ‘불가항력적인 관계성’에 대한 고찰이다. 우리는태어나는 순간부터 관계라는 촘촘한 그물망 속에 놓이며, 단 한 순간도 그 연결로부터 자유로울 수 없다. 화면을 가득 채운곡선들은 서로를 누르고, 가로지르고, 때로는 감싸 안으며 하나의 유기적인 생태계를 이룬다.



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1999 - 2001
Myself into the painting



For untitled - Y
2000
Tempera on canvas
175 × 240 cm










1999 - 2001
Myself into the painting
Untitled - Y
1999
Acrylic and tempera on canvas
175 × 240 cm








2005 - 2006
Myself into the painting



■

Untitled W/B, 2005, Acrylic and tempera on canvas, 183 × 152 cm
뉴욕 브루클린에서의 초대전 리셉션을 마치고 마주한 눈부신 설경은, 고단했던 나의 예술적 여정을 보듬어주는 하늘의 축하 선물과도 같았다. 그 날의 강렬한 기억 이후, 나의 화면 위에 내려앉은 하얀 점들은 에너지를 품은 생명체이자 하늘이 내린 축복의 메시지로 상호 치환된다.



나의 작업은 붓을 내려놓고 '손가락' 이라는 본연의 신체 감각을 캔버스에 직접 부딪히는 행위에서 시작한다. 아크릴 미디엄과 안료를 섞어 손끝으로 하나하나 찍어 누르는 반복적인 과정은, 나의 체온과 에너지를 물질 속에 직접 이식하는 생명력을 불어넣는 행위이다. 손가락 끝의 압력에 따라 조절되는 농도와 명암은 화면 위에서 각기 다른 표정의 점들로 태어난다.



화면을 가득 채운 무수한 하얀 점들은 층층이 쌓여 깊이 있는 레이어를 형성하며, 조명의 각도에 따라 은은하게 빛을 발한다. 이들은 지구상에 뿌려진 생명체로서의 인간을 상징함과 동시에, 브루클린의 밤하늘에서 내려온 축복의 에너지를 형상화한다.











2005 - 2006
Myself into the painting



Untitled, 2006, Oil on canvas, 130 × 194 cm











2009
Appearance & Reality
My paintings are consists of layers of lines.  When I create the brush lines, I begin with random, unplanned starting points.  Yet, lines have been controlled by my esthetic value since (as soon as) they depart their starting points.  I intend to control each brush lines till their ends, as if I try to make up the insufficient beginning plane. I also take the responsibility for the unsatisfactory; the unsuccessful lines derived from unconsciously started brush lines. All the lines (whether they satisfy my esthetic sense or not) are contained in my art work.





The concept for my art work is reflected in my view of life.  In my notion, the beginnings for human beings, (being birth) are unplanned chance for most of them. They endlessly try to complete their lives in many different ways against the fate, which they were not able to choose to be. Their efforts could result in satisfaction, but some could not.



 

My painting includes the process of making my art work. 



My life is the process of the accomplishment.



The beginnings are the chances.



The results are up to me. Myself. Inevasible…








CRITIC


유근오 — 유사(類似)를 머금은 상사(相似)의 선



































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