Solo Exhibitions (Brief)

Parc’s recent solo exhibitions include 《Wall Painting No.6》 (Caption Seoul, Seoul, 2024), 《AUTO Drive 3》 (021Gallery, Daegu, 2022), 《Seeing Seeing》 (The Export-Import Bank of Korea, Seoul, 2022), 《Blue, Blue》 (The Reference, Seoul, 2021), 《Times》 (Kumho Museum of Art, Seoul, 2020), and more.

Group Exhibitions (Brief)

Parc’s recent solo exhibitions include 《Wall Painting No.6》 (Caption Seoul, Seoul, 2024), 《AUTO Drive 3》 (021Gallery, Daegu, 2022), 《Seeing Seeing》 (The Export-Import Bank of Korea, Seoul, 2022), 《Blue, Blue》 (The Reference, Seoul, 2021), 《Times》 (Kumho Museum of Art, Seoul, 2020), and more.

Residencies (Selected)

Parc has been selected for several artist-in-residency programs, including K’ARTS Studio at Korea National University of Arts (2021–2022), the MMCA Goyang Residency (2020–2021), Incheon Art Platform (2019–2020), and Seoul Art Space Geumcheon (2017–2018).

Originality & Identity

Rahm Parc has continuously explored how valid images can be translated into painting within the contemporary environment where the virtual and the real coexist. Her early work Meteorites (2014–2018) referenced the operational mechanism of 3D printing, transforming the way real-world data is visualized into a formal language, an attempt to visualize the abstract order embedded within technological environments.

The artist interprets digital technology not merely as a tool but as an integral part of the structure of contemporary thought. Experimental works such as the performance series 2nd Drawing Exercise (2016) extend this concept of “drawing what is yet to be seen” into a process where mental images are formed beyond the realm of physical vision. This can be understood as an effort to structure an awareness where physical sensation and immaterial imagination are intertwined.

Since her solo exhibition 《Times》(Kumho Museum of Art, 2020), Parc has actively incorporated the structure of a matrix into her painting, interpreting the overlapping of time and space as a visual language. The circulation of color and the visual movement presented in Times (2019–2020) propose an expansion of perception beyond physical space and raise philosophical questions about the relationship between human cognitive structures and the digital order.

In recent works such as AUTO (Seeing Seeing) (2021), AUTO (Players) (2021), and Pictures (2022), the artist dismantles the boundaries between the virtual and the real more actively. Paintings that occupy space like vehicles in motion or as independent structures simultaneously evoke questions about the reconfiguration of time and space, human imagination, and the issue of free will within technological environments.

Style & Contents

Rahm Parc began by transforming the structure of digital media into a formal language, gradually building a hybrid form that traverses painting, installation, performance, and sculpture. Meteorites adopted the layered process of 3D printing to experiment with the intersection of painting's flatness and sculpture's dimensionality.

In 2nd Drawing Exercise, the artist combined participants’ bodily movements across a grid with real-time image interpretation, emphasizing the performative aspect of painting by blending performance and drawing. In this way, Parc has expanded the physical boundaries of painting while developing a methodology that fuses immaterial images with bodily experience.

In 《Times》(Kumho Museum of Art, 2020), Parc reconstructed the language of painting so that color functions as an index within a matrix, based on the structure of spreadsheet cells. Times utilizes modular canvases, stencil brush gradients, and matrix structures to juxtapose computational order with sensory freedom, inducing visual movement that changes in response to the viewer’s physical navigation of space.

In AUTO (Seeing Seeing) and AUTO (Players), Parc employs colors and compositions that evoke nighttime driving, subverting the visual culture reduced to data structures through painterly sensations. In Pictures, she installs paintings on steel as independent structures within space, presenting a new dimensional sculptural experiment that connects painting, sculpture, and performance.
 

Topography & Continuity

Rahm Parc has gained recognition within the Korean contemporary art scene for her unique exploration of connecting the language of painting to the structure of digital systems. Through works such as Times, AUTO (Seeing Seeing), and Pictures, she has developed an original painting system that combines matrix structures, indexes, visual movement, and the expansion of the virtual.

Her work has consistently expanded the concept of painting across installation, performance, and sculpture. Recent works such as Pictures and Runway (2025) demonstrate her sculptural experiments that actively occupy physical space. This approach is evaluated as a new form of painting that structurally connects the logic of virtual images with real space.

Parc’s formal research is an ongoing process that experiments with how human sensation and imagination can be expanded or restored through painting within a contemporary context dominated by digital systems. Her recent exhibition 《Take My Eyes Off》(Buk-Seoul Museum of Art, 2025) further develops her methodology, expanding toward greater spatial autonomy in painting and deepening the dissolution of boundaries between virtuality and reality.