Minha Yang begins with the
premise that artificial life in computational media has no concept of standing.
From the perspective of survival, she constructs new life forms governed by
simple spore-like rules of birth, decay, reproduction, and decline. Video works
depict the interactions of these algorithmic beings with central light sources,
illustrating endlessly looping cycles of self-generating and self-extinguishing
life. Her installation occupies the curved wall of the basement, evoking an
ecosystem in perpetual motion.
Sungoo Im interprets the act of
“standing on one’s own” through fragile paper fragments that gather and rise
independently. Her works question the possibility of verticality in delicate
matter. Fragments of paper are layered with graphite to create dense, solid
surfaces; torn edges are filled with damp clay, molded repeatedly to form
compacted structures.
Though still reliant on other materials for support, her
works explore what is revealed and concealed in the process of paper and
graphite hardening together. Placed at the gallery entrance and along
connecting points, her pieces weave dramatic scenes that twist and bind the
exhibition space with theatrical intensity.
Yoonhee Choi recalls the time she
began to truly feel the freedom of painting—when she started to “stand” by
finding herself through art. She revisits works from 2021, when she first
infused her process with personal experience and emotion. Her paintings are
records of time, sensations, and scars accumulated within the body—sometimes
requiring long digestion, other times evaporating instantly. Her works on the
first floor reveal the “skin of yesterday,” reexamined in the present moment.
Jin Han stores sensory memories
through photographs and videos taken while exploring nature. Rather than
reproducing these images directly, he reconstitutes them on canvas purely
through sensory recall, prioritizing auditory memory in particular. Without
predetermined imagery, he paints until an instinctive sense of completion
arises. His works, situated in the final yet transitional space of the
exhibition, depict a site shaped by cycles of generation and extinction—slowly
detaching from the flow of both physical and emotional time. “When facing the
painting,” he writes, “I wished its moment of stillness to feel not like
‘suddenly,’ but like ‘gradually,’ ‘finally,’ or ‘barely.’”
Text by: Seulchae Yoon (Curator,
Gallery SP)
