Installation view of 《Visual Arithmetic: the 64 formal codes》 © Lee Eugene Gallery

In general, the way we read images is highly subjective. Since artworks belong to a realm that exceeds what can be communicated through concrete language, criticism has often relied on subjective interpretations such as philosophical speculation, personal narratives, or ambiguous emotional responses. Of course, it is precisely for this reason that artworks are compelling and can be considered the result of a higher level of consciousness. Nevertheless, if both the creator and the viewer could communicate through certain objective units and systems, it would allow for richer forms of criticism and appreciation surrounding the artwork.
 
Artist Suejin Chung, with a strong belief in this possibility, developed over a long period of research a visual theory she named “Budo Theory.” She established a system that enables new forms of communication through visual images. Just as we create systems such as alphabets, Hangul, numbers, and formulas to communicate—and learn them through long effort—she explains that visual images can also be assigned basic units and organized into a system to enable more concrete communication.

While there have been similar attempts in art history, such as the visual theories of Heinrich Wölfflin and Wassily Kandinsky, communication remains an essential issue for artists working with visual images. Although the artist cites mathematics, science, and both Eastern and Western aesthetics and philosophies to explain the concepts of her theory, these are merely to aid understanding; her visual theory is highly original and not indebted to any particular Western aesthetic framework.

It has already been twenty years since I first encountered the idea of this theory and observed its development. The theory continues to evolve, and it has now begun to be practically applied in both artistic production and communication together with artists Jung Jik-seong, Lee Jung-heon, Park I-do, and Kim Young-heon.


Installation view of 《Visual Arithmetic: the 64 formal codes》 © Lee Eugene Gallery

This exhibition presents the results of approximately one year of collective research by artists who gathered to study the theory and apply it to their work. In addition to their existing works, they selected one code among many derived from the theory—“symmetry of resemblance”—as a shared code and applied it across their works.

Although the participating artists each possess distinct artistic worlds, similarities in visual flow could be observed in works that engaged with this shared code. Above all, it was a deeply rewarding experience to witness artists gathering and engaging in discussions despite their busy schedules. The discussions focused on highly concrete and practical elements—such as color, form, and texture—that only practicing artists can truly engage with. This became a vivid site of critique and opened up new possibilities for viewing painting.
 
Looking at the history of art, no new artistic movement has ever emerged without artists who possess a strong vision. The strong vision of artists is eventually organized into theory through criticism and becomes established as something that defines an era. Although such evaluation requires a certain passage of time, the existence of a visual theory that has emerged autonomously in this context, along with the passionate participation of artists who already hold significant positions in the art world with their distinctive practices, is in itself meaningful. Beginning with this exhibition, it is hoped that continued research and exhibitions will follow, and that more artists will take interest, along with warm support from those who love art.
 

/ Lee Eugene, Director of Lee Eugene Gallery

References