Jung Jin
- Introduction of Artist
- JungJin presents multi-layered paintings where reality and fantasy intersect. Her works superimpose two-dimensional graphic design elements, mythical and fairy tale characters, and other imagery onto realistic landscapes, merging different temporal and spatial narratives into a single canvas. These overlapping images, combined with bold, primary colors, create a unique tension within the composition. Within these fairy tale-like scenes, the artist’s inner anxieties are subtly projected, blurring the viewer’s perception. A defining characteristic of her artistic approach is the continuous experimentation with the limits of the painting plane by blending traditional landscape techniques with contemporary pop culture imagery.
JungJin develops her works by intertwining personal memories with universal narratives. For instance, she inserts objects from her childhood memories into ordinary everyday landscapes, distorting their proportions to create déjà vu-like scenes where past and present coexist. In some works, she incorporates imagery from classic fairy tales such as Sleeping Beauty, Hansel and Gretel, and The Happy Prince—stories that appear to have happy endings but often conceal tragic undertones. By embedding these narratives within her personal landscapes, the artist reflects on her own memories from a detached, observational stance. She also creates scenes where reality and fiction coexist, such as reimagining Mowgli from The Jungle Book in a modern civilization or depicting urban landscapes inhabited by cartoon characters like Snoopy and Charlie Brown. Further exploring these themes, she has produced works like Night of Nightmares, The Afternoon/Night of the Crying Cuckoo, and The Night of the Descending Rope, addressing human desires and the conflicts and struggles they entail. Her compositions include imagery referencing Korean folktales (The Legend of the Cuckoo, The Sun and the Moon Siblings), Greek mythology (Sisyphus), and Disney animations (The Little Mermaid, Aladdin's Genie), offering the audience multiple interpretive layers. Rather than explicitly explaining these elements, JungJin presents them through symbolic layers, encouraging viewers to actively engage with the artwork by uncovering and connecting the embedded narratives.
JungJin has explored the expanded possibilities of painting, developing a unique artistic technique. Her works are characterized by an unusual juxtaposition— realistic landscapes meticulously rendered with perspective coexist with flat, cartoonish characters derived from animated films. She also incorporates graphic design elements extracted from print media and exaggerated motion lines used in comics to intensify emotions. By layering these diverse visual elements, she hints at different time dimensions and narrative structures within a single composition. While some of her works may resemble collages, they are entirely hand-painted. She meticulously builds depth through techniques such as repeated fine-line drawings, layering neon colors beneath primary pigments, and applying multiple coats of paint.
She also actively experiments with artistic form. In her Folded Screen series, she applies paper to wooden panels, cutting out sections to create physical layers within a flat painting. These cut-out areas reveal hidden images beneath, and the edges of the paper deliberately expose the cumulative layers of the artwork. This technique highlights the materials that constitute the painting itself, clearly distinguishing each image layer while ultimately forming a unified narrative. Her use of color also employs contrasting techniques—overlaying delicate line drawings on broad, monochrome backgrounds creates a multi-layered transparency effect, similar to stacked OHP film sheets. By alternating vivid primary colors with fluorescent tones, she introduces a heightened sense of tension into the composition.
JungJin's work is characterized by a visual language that exists on the boundary between different artistic influences. Having experienced both pre-digital and digital eras, she seamlessly integrates traditional observational drawing methods with modern visual influences derived from photography and video, bridging historical techniques with contemporary aesthetics.
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