biscuit gallery スヨン｜Suyeont
Profile
1988 Born in Busan (Korea)
2020 MFA Fine Arts, Korea National University of Arts (Korea)
2015 BFA Film, Korea National University of Arts (Korea)
Major Exhibition History
Solo Exhibitions
2025 ”Tracing Paper” Komplex Gallery (Seoul/Korea)
2021 ”A Soft Future” Alltimespace (Seoul/Korea)
2019 ”Oft in the Stilly Night” Gallery175 (Seoul/Korea)
Statement
I seek to reveal the transience of life and the events that occur within it.
Moving between drawings on graph paper, paintings, and works using fabric, I inscribe the precious sensations I wish to preserve onto thin supports. The essence of existence, where “impermanence” and “meaning” coexist, constantly bewilders me. Through my work, I wish to express a state where that which is nothing yet everything, that which is momentary yet eternal, that which fades away yet is stunningly beautiful, collide with one another.
My work is broadly divided into three series.
First, there is drawing done in colored pencil on graph paper.
This is essential for quickly recording the sensations of a moment. Upon the order created by horizontal and vertical lines, I freely draw shapes. Sometimes I follow the lines, sometimes I deliberately deviate from them. I contemplate the sensations that have heightened my awareness throughout the day. The sensation of water touching my hands while swimming, the warmth felt in an embrace, an unexpected moment of anxiety—I find and record the strong sensations that make me feel my own existence. In moments of concentration on these sensations, I most strongly experience that I am alive. Here, many narratives are condensed, simplified, and converted into symbols.
Second, there is painting using acrylic paint.
Painting creates the spatial depth that cannot be achieved in drawing. I remain before the canvas longer than I do while drawing, returning to the moment when the sensation first emerged. The soft tactile quality conveyed by two layers of thin cotton fabric, and the layers of thinly applied paint built up in multiple coats, bring me closer to fundamental sensation.
Third, there are fabric works where translucent fabrics such as Nobang and Oksa are cut and sewn together to create form.
The fabric approaches the viewer, envelops the body, and creates a flow of movement. Its thinness is apt for expressing a state of “existing yet not existing,” “visible yet invisible.” In fabric works, iconography possesses clearer boundaries and is bound to that place by needle and thread.
These three methods complement and organically function with one another. Their destination is singular: “To reveal the transience of life. And thereby, to evoke moments that deserve deeper blessing.”
Through exhibitions, I wish to present such moments.
Collection
MMCA Art Bank (Korea)