Psychological landscape
I have been working on making layers of brush lines in my work. I have obsessed with creating brush lines as a language of my abstract painting for past ten years. I believe that I could record the elapse of time and memoir of myself in my paintings as I repeatedly create the line. I conceive that brush lines could represent the thought I aspired to express through my art work. Yet, since 2008, the lines become more tangible (figurative) in terms of their voluminous (massive) form. I wanted the lines to be looked more alive. Of course, I don’t indicate that the lines became full of life since I painted them in three-dimensional shape. It would be right a description that I spend more hours to elaborate each line to put my energy and myself in each line. As I attached to each line, I could see the line was transformed in three dimensions by time passing. I am remained by the time as I remain the line in my art…
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Psychological landscape
Psychological still life
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Psychological Still Life
2013 DMC Gallery
Seoul, KR
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Psychological Still Life
My spectrum
흩날리다
Jeong Chan Min
coloris2007@gmail.com
Instagram @jcm_art_official
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.
Brooklyn, NY, US
1996 B.F.A, Duksung Women’s University Paintings, 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
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
Myself into the painting
I consider making one stroke as producing an individual, a human being. Together, the brush strokes are metaphor for human being and the square canvas is a metaphor for where human beings exist. All human beings have different and unique auras and qualities although these are indistinguishable when people are in a group.
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Myself into the painting
2000
Tempera on canvas
175 × 240 cm
Myself into the painting
1999
Acrylic and tempera on canvas
175 × 240 cm
Myself into the painting
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Untitled W/B, 2005, Acrylic and tempera on canvas, 183 × 152 cm
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.
Myself into the painting
Appearance & Reality
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