Synchronism 5

Synchronism 3

지향 Toward 27

지향 Toward 26

자리 Jari 41

 <Light Collector> MARCHH, Seoul, South Korea

<To the inside, To the inside> Gear 3, Seoul, South Korea

<Photosynthesis> GalleryMEME, South Korea

<Shimmering Particle> Noblesscollection, Seoul, South Korea

<A Quiet Room, A Place in Your Heart> WOAW Gallery, Singapore

<Painting Around Me> CDA, Seoul, South Korea

<Pyo-pyo-soyo> Everyart, Seoul, South Korea

<Hajimemashite!> Bridge Mogura Gallery, Tokyo, Japan

<Local Christmas Market> The Untitled Void, Seoul, South Korea

<Drawing Growing> Mihakgwan, Seoul, South Korea

<A Friend at My Window: More Light than Leaves> ArtBelt SOJE-Yanggaenggeang, Daejeon, South Korea

 <Entering ()> Gallery Sai, Seoul, South Korea

<Body: ritual> Gallery Royal, Seoul, South Korea

<En attendant Godot> The Gallery, Seoul, South Korea

<Between Between> Palais de Seoul, Seoul, South Korea

<Ouch - uselessly> Palais de Seoul, Seoul, South Korea

My faint light bent in a wavering arc. Swaying with unease and fragility, I barely traced a dim glimmer. I moved toward the light—clear in aim, but lost in direction. I gradually developed a sense for detecting and escaping the abyss of despair and the weight of its repeating patterns. Each crisis sharpened my acuity. I responded finely, moved in subtle steps. What may seem like reckless intuition was swift judgment, honed by time. The hours carved into my heart fed my intuition, nurtured my sensitivity. I evolved, bracing for the next trial. Sensitivity became my chosen trait— a way to survive, a skill to catch even the faintest light. I twisted, reached, and stretched as far as I could. Through the ground, into the sky. I bask in everything. /Text. DuRi Baek

<Cheon-yi 遷移> is the artist's first solo exhibition that fits into the process of establishing and developing her current artistic style. In fact, the title of the exhibition and the work of the same name have a great hierarchy in this exhibition. 'Cheon-yi' refers to the process of plants establishing themselves and the environment returning to the land that has been damaged and neglected by some cause. Human life repeats destruction and recovery without distinguishing between voluntary and involuntary. In describing the transition, the mention of destruction before restoration suggests that destruction and restoration are linked like a chain. Just as it is the providence of nature to cycle itself, human life is also a continuation of the cycle. There is no eternal continuation and no eternal annihilation, only a cycle. The artist seems to present this discourse of recovery and regression in this exhibition. The yellow flowing screen at the entrance of the exhibition ("Yiwon"), which appears to be full of light, but is actually devoid of any signs of life, signals a desolate prelude. Gradually, green shadows fill the screen to reveal works that show signs of life, and the artist's message to the viewer is: "This is all a product of our efforts, aspirations, and struggles to live fiercely. Shadows are the evidence of life.
