It is true that we feel something unfamiliar with Chung Seo-Young’s recent work, because we have been so accustomed to translating formative characteristics of certain works whether whey are internal or external into a linguistic context. But, at least, I could confirm that we were not hostile enough to turn our back on things unfamiliar. Such a confidence does not necessarily come from flexible thinking or profound understanding. Though her works present some kind of unfamiliarity and uneasiness, they are meaningful artistic pieces because they deliver a delicate 「vibration」 to the audience when they are being perceived.

But somehow this vibration is twisted as if it is reflecting a contradiction; almost all the formative factors and aesthetic experiences encompass unspeakable experiences and, at the same time, speakable explanations. Maybe it would be an irresponsible comment if we say this kind of contradiction forms the basis of Chung’s work. But this comment warns us of the danger of hastily judging her work from the view point of current trends. Rather we should consider her work as her private space formed by her peculiar sense and experience over a certain period of time. In fact, it is still difficult to capture the accumulated perception or experience of Chung.

But it does not mean that her work is imprisoned in the closed internal circuit either. From the niches in her work, we can trace the progress of the artist’s mind. Sometimes, these traces assume a pleasant and light mood while, sometimes, they take on regrets of past memories. Even sometimes, they emerge but disappear unnoticeably like the obscure memory of old love.

Whatever the case is, her work offers possibilities. In the material aspect, she refuses to confine herself to artistic material which creates formative order. (We should remember that her past work mainly consists of wire.) Rather she freely uses materials like plastics, gesso, wood, cloth, photo, mirror, etc. which move between the artistic world and practical life. Since these materials do not force any formative regulations, their image is very soft. Something smoothly soft breaks a prejudice believing in a fixed and centered world.

If there is any sign of the entrance to her artistic world, it is 「not the work itself but the artist’s mind which make the conditions of her work possible」, if I may quote a poet Kim, Jun-Ran. In the artist’s mind, there is no insider nor outside. No front, no back, and no center. If we feel that there is a center of the mind, that is because the mind shines like moonlight. But this is only possible because the surrounding rich darkness makes the moon shine.

(Translated by Park Hyun-Joo)