At Space K Gwacheon, Kolon’s cultural sharing space, the two-person exhibition 《LAND.IN.SIGHT》 by Woohyun Shim and Jae-min Jang is presented. Drawing motifs from landscapes that feel both familiar and unfamiliar in our everyday lives, the two artists reflect their own insights onto the canvas through their interpretations of landscape.

While Woohyun Shim captures primordial sensations triggered by the forests around us, Jae-min Jang reproduces the gap between experiences of place and the emotions that fail to fully correspond to them through gray-toned, incomplete landscapes. These fragments of internalized landscapes reawaken the spectacle of the everyday, offering an opportunity to reconsider how we perceive and contemplate landscape.

Woohyun Shim’s landscapes are grounded in memories and sensations of the dense forests that surrounded her from childhood. Experiencing impulses and pleasure within forests untouched by human hands, she expresses these layers of primal emotion on the canvas without filtration. Through the layering of vivid primary colors that stimulate visual illusion and short, spontaneous brushstrokes that foreground the materiality of paint, she incorporates mythological elements that narrate desire, unfolding dense landscapes in a voyeuristic manner.

These hybrid scenes—where bodily perception of reality and emotions accumulated internally are intermingled within a single frame—reconstruct surrounding landscapes as the artist’s own singular domain. These internal landscapes, like disordered afterimages left by sensuality, confront the essential nature of the human interior that is often obscured by rational explanations of life.

Jae-min Jang recreates emotions experienced while inhabiting specific places through gray-toned landscapes. The locations he selects are unfamiliar scenes—secluded corners beyond public attention or silent suburban areas cut off from the noise of the outside world. Through restrained color palettes and rapid brushwork, the artist leaves fleeting impressions that capture the gap between experience of place and the emotions that follow but never fully align.

Absurdities that suddenly feel strange—even within minor details always present in a place, or within fleeting moments of perceiving, feeling, and remembering—emerge as incomplete landscapes that resist easy fixation. By focusing on the constantly shifting inner self, these unfamiliar landscapes paradoxically call attention to the conditions that constitute our everyday lives, which had seemed too familiar to feel otherwise.

References

• 《랜드.인.사이트 (LAND.IN.SIGHT)》