Solo Exhibitions (Brief)

Jang Pa has held solo exhibitons at Humor Garmgot (2023, Seoul), KICHE (2022, Seoul), alltimespace (2022, Seoul), IAP Warehouse Gallery (2020, Incheon),  DOOSAN Gallery Seoul (2018, Seoul), DOOSAN Gallery New York (2017, New  York), Seoul Olympic Museum of Art (2016, Seoul), Makeshop Art Space (2015, Pajju), Gallery Zandari (2015, Seoul), Tv12 gallery (2013, Seoul), OCI Museum of ART (2011, Seoul), Alternative Space HUT (2009, Seoul).

Group Exhibitions (Brief)

She has staged and participated in various group exhibitions at ARAC (2024, Bucharest, Romania), MMCA Seoul (2024, Seoul), Buk-Seoul Museum of Art (2024, Seoul), SONGEUN (2023, Seoul), ARKO Art Center (2023, Seoul), DOOSAN Gallery Seoul (2023, 2015, Seoul), Incheon Art Platform (2022, Incheon), Gallery Func (2022, Shanghai), D/P (2020, Seoul), Post Territory Ujeongguk (2019, Seoul), Art Space Pool (2017, Seoul), Seoul Musem of Art (2015, Seoul), OCI Museum of ART (2015, Seoul), and more.

Awards (Selected)

Jang Pa has been an artist-in-residence at the SeMA Nanji Studio (2022), Incheon Art Platform(2020), Seoul Art Space Geumcheon(2019) and DOOSAN Residency in New York(2017).

Collections (Selected)

Her works are part of the collection at the Seoul Museum of Art, MMCA Art Bank, and Seoul National University Museum of Art. 

Originality & Identity

Jang Pa explores the realm of painting from a feminist perspective, continuously reconstructing the subjectivity of women and the experience of otherness through her visual language. Her early work, A Secret of Plants (2009), visualized the mechanisms of violence and otherness within social structures through metaphors of plants and animals.

Subsequently, the ‘Lady-X’ (2015–) series experimented with the visual representation of "women as others" and "female grotesque," exploring women's sexuality from an autonomous perspective. Lady-X No.07 (2015) subverted the male gaze by reinterpreting the female body beyond conventional representational norms, examining the possibility of women’s desire manifesting autonomously. This exploration later developed into the ‘Brutal Skins’ (2016–) series, in which the female body was depicted as fluid and transformative, disrupting gendered sensory systems.

Her recent ‘Women/Figure’ (2020–) series expands this approach by collecting and rearranging misogynistic imagery from art history and cultural history, embedding them in new visual contexts. Women/Figure: Halmang (2023) reinterprets the pre-Dangun myth of Mago Halmi, a female creation deity, examining the transformation of female subjectivity throughout history. Through this work, Jang Pa deconstructs the fixed meanings of femininity and explores new possibilities for the formation of female subjectivity.

Style & Contents

Jang Pa’s early works focused on narrative compositions using refined oil painting techniques, but her approach has evolved through material and technical experimentation, expanding her expressive methods. Her work prominently features vibrant colors and distorted depictions of the female body, challenging the male-centered visual system while exploring alternative feminine aesthetics.

Since the ‘Lady-X’ series in 2015, the female body in her work has been depicted as organically fluid and constantly shifting in form, emphasizing multiplicity and deterritorialization. Following the Brutal Skins series, she intensified the use of liquid textures and fluorescent colors to blur the boundaries of the body, amplifying its instability.

Her recent works extend beyond the two-dimensional canvas, incorporating installation elements. In the ‘Women/Figure’ series, she integrates painting with silkscreen, metal surfaces, and GIF imagery to reconstruct visual contexts. In particular, Women/Figure: Halmang (2023) merges mythological female figures such as Mago Halmi with contemporary visual language, investigating how female identities are culturally consumed and transformed across time and space.

Topography & Continuity

Jang Pa's work continuously explores themes of female subjectivity, otherness, social violence, and the representation of gender and sexuality. Her paintings transcend fixed modes of representation, embracing multi-layered visual interpretations and ongoing formal experimentation.

By reinterpreting art historical iconography while visualizing the fluidity and transformation of the body, she challenges traditional boundaries between past and present. As she expands her painterly materials and techniques, her work continues to push the limits of form and substance, forging an original visual language that bridges tradition and contemporary discourse.