Connotation/Denotation, Gallery Woong, Seoul

A single canvas with four vertices is cut to form multiple vertices. The form of the lines found on the intersect of pieces connotes the original shape of the pieces, but it also serves as a lead to the direction in which the form of the lines moves. <Vertices>. The artist rotates the pieces and paints onto the varied shapes or keeps the original state. Individual areas with distinguished representation promote the assessment of the past and future of the trajectory. <Territory of Matters>. With the limited density of paint, the paint is either applied from the outer corner towards the inner surface or vice versa. The work is finally completed as the paint is used up. Although the weight of the paint is indicated in the title of the work, the uncommon use of the unit provokes an equivocal impression. <Weight Painting>.

In the works of Youngjoo Kim, the canvas and paint are interpreted as suggested substances. It alludes to the original form, the kinetic energy of the pieces, and its temporality of state. The area pointed out by signifiants and signifiers is the rule established by the artist. The audiences oscillate between abstraction and figuration captured in the painting and sculpture in the oeuvre of the artist following the witty structure of multifarious banters instilled in the works. The artist’s works are closely associated with a kind of algorithm mechanism. Her work embodies the creation of a whole world that incorporates the algorithm mechanism as a condition.

The artist abandons the reproduced image of a complicated world but she conveys a succinct structure and rule demonstrating the principles of mathematics of science to the audiences. It is the prototype of pure joy embraced by the artist that can also draw an analogy to the plot of a story. The prototype of all stories in the world is essentially derived from the structure of mythology. The audiences are encouraged to understand the rules or plots suggested by the artist and embellish them with their own creativity. Unlike the work that delivers a specific narrative, the artist’s works evoke a certain structure to the audiences that become a medium to generate a different story based on individual signification.

A story appeared as being submerged

Pieces of canvas merge to form a temporary form. The pieces retain the energy for action in a direction like tectonic plates, they also cooperate with each other to maintain the current state. Although the pieces remind the original shape, once cut pieces cannot be returned to their initial state. Also, despite the directions of movement, the force of each piece determines the change of shapes. As if the banters don’t seem to be in sync by oblivious observers, the kinetic energy lingering on the surface and underneath contains distinctive narratives. However, several coincidences become weft and warp and conjure up inevitability like the tentative state of foreign pieces, the light of space, and the direction of gaze. The present verifies the functionality of the algorithm of banters.

As if the void of a building represents a state of absence of intention, the crevice in between the canvas is seemingly empty, however, it is not merely an empty space. Submerged in the crevice of the valley along the circumferences, audiences are immersed in the artist’s algorithm. The same rules are applied to everyone, but the sense and memories individually grow to form its own catalyst toward incisive imagination.

As the audience encounters the works to create the meanings, the energy explodes around the empty space and the fragments of canvas begin to react. It is diastrophism. The surface in front of the eyes is shifted away and the senses slide in as the past arises. The ecstasy flows from the lines onto the body, a private old banter embarks on the reaction. Passing through the artist’s algorithm, it is repented upon the present sense. This is the moment when this painting becomes the point at which ‘punctum’ occurred, and its concept verifies the implementation of the value in a realm outside the photography. Various stories that emerge from a work settle with the audiences. Just like a photograph that captures a fleeting moment, it focuses on the moment and you.

As a flawless algorithm applies the most powerful freedom and vitality into the virtual world, the artist creates an elaborate structure to stimulate the senses and promote audiences to unfold their stories. We are all variables. It is an inside joke shared with the artist who secretly yet intentionally proposes the idea. With the banter of various senses of humor, a story is added to deliver another banter. A responsive banter is similarly different. It is another way of expressing the wishful desire for understanding based on a set of rules. The pieces of canvas emerge as mutual text that opens the door to a new world.

Amidst the connotation and denotation, the artist awaits the story to appear from within the crevice of spaces that gradually expands. The story began in the past, but it is the present and flows into the future. Don’t we all have an old banter carrying in our hearts?

Jiyeon Kim (Writer, Art critic)

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Territory of Matters (2022)

Acrylic on linen and wooden structure, 187x265x21cm

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Territory of Matters (2022)

Acrylic on linen and wooden structure, 117x170x15cm

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Connotation/Denotation, Gallery Woong, Seoul

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Territory of Matters (2022)

Acrylic on canvas and wooden structure, 188x195x21cm