Greem Jeong, Jin Jihyun, Yuseong Choe
𝘉𝘦𝘵𝘸𝘦𝘦𝘯 𝘍𝘰𝘳𝘮𝘴
ATELIER AKI
2026. 11. 5. – 12. 19.

ATELIER AKI is pleased to present 《Between Forms》, its final curated exhibition of 2026, on view from November 5 through December 19. Bringing together three millennial-generation artists, Greem Jeong, Jin Jihyun, and Yuseong Choe, the exhibition explores how each artist constructs form through distinct mediums and visual languages spanning sculpture, traditional Korean painting, and oil painting.

Greem Jeong, Knot Chair-Toffee, 2025.
Silicone and steel, 58 x 52 x 92 cm, dimensions variable.
© Greem Jeong. Courtesy of the artist and ATELIER AKI.

Through their individual approaches to form and the ideas embedded within them, 《Between Forms》 highlights the diversity and fluidity of contemporary artistic expression, which resists definition through any singular form. The three participating artists explore the processes through which forms emerge and evolve, each drawing on distinct mediums and creative practices. Greem Jeong extends the movement of lines into spatial structures, exploring the relationship between function and sculptural form. Her practice develops a visual language at the intersection of an object’s practical function, such as that of a chair or lighting fixture, and the sculptural structures created through lines. Jin Jihyun layers ink and color on traditional Korean paper (hanji) to create scenes in which external reality and inner landscapes coexist. Recurring motifs such as birds and the moon serve both as familiar elements of everyday life and as images that evoke memory and emotion. Yuseong Choe responds to bodily movement and the material qualities of oil paint, negotiating the relationship between recognizable forms and fields of color. Shapes that suggest identifiable objects interact with freely flowing lines and areas of color, forming organic relationships within the pictorial space. Despite their differences in medium and approach, the three artists share an understanding of form as something that cannot be confined to a fixed appearance or singular meaning. Form emerges through the properties of materials and the artist’s decisions, acquiring new meanings through the space in which the work is presented and the individual memories and perspectives of its viewers. The notion of “between” in the exhibition title, 《Between Forms》, refers to the diverse relationships that arise throughout the processes of forming and interpreting visual forms. By bringing together three unique approaches, the exhibition examines the possibilities inherent creation to its experience and interpretation by the viewer.

Installation view of Between Forms at ATELIER AKI, 2026.

Greem Jeong works across sculpture, furniture, and installation, drawing on the movement of lines and the material qualities of her chosen mediums. Her signature 《Mono Series》 explores how a single, continuous line can form a sculptural structure within space. Guided by the intuition of her hands, Jeong bends and extends lines, gradually discovering rhythm and balance. Materials originally intended for industrial applications are transformed beyond their functional purposes into sculptural elements that define form. These lines simultaneously support the structure, divide space, and flow through it, revealing a sense of organic movement. In 《Knot Chair》, interwoven lines resembling knots are integrated into the structure of a chair. While recognizing the object’s familiar function, viewers are invited to observe the flow and overlapping of lines, as well as the negative spaces that emerge between them. The shifting contours, which change according to the viewer’s position, offer an opportunity to experience a functional object as a sculptural form. In Jeong’s practice, form reveals itself in multiple ways through its relationship with the viewer’s perspective and movement, as well as the surrounding space.

Installation view of Between Forms at ATELIER AKI, 2026.

Jin Jihyun depicts living beings encountered in everyday life and the memories associated with them through ink and color on traditional Korean paper (hanji). Birds, moons, and flowers emerge from familiar landscapes, yet take on an unfamiliar atmosphere as layers of memory and emotion intertwine. As described in her artist statement, night is a time when memories and emotions that remain faint during the day, along with anxieties and hopes, begin to surface. Jin refers to these traces of her inner world as “ghosts,” bringing them together with visible beings within a shared landscape. In works such as 《The Moon and a Flock of Birds》(2025) and 《Lily of the Valley and the Night Bird》(2026), familiar forms evoke complex emotions that resist any singular interpretation. The subtle gradations of ink and colors absorbed into the hanji reveal the subjects while leaving their meanings open to interpretation. Rather than conveying fixed symbolic meanings, the birds and moon invite viewers into scenes where reality and imagination converge. In Jin’s practice, form gives perceptible presence to otherwise invisible emotions, creating space for viewers to bring their own memories into the work.

Installation view of Between Forms at ATELIER AKI, 2026.

Yuseong Choe begins her practice with formal considerations of shape, arrangement, and composition, yet does not predetermine the final appearance of a painting. The movements of her wrist and shoulder, the consistency of the paint, and the colors and forms already present on the canvas all inform her subsequent decisions. Throughout the painting process, Choe responds to emerging changes, revisiting and reworking existing relationships when necessary. Unexpected outcomes become opportunities for further development, shaped through successive acts of revision and selection. In her new works, presented for the first time in this exhibition, forms suggestive of human figures and living beings intertwine with undulating lines and organic fields of color. As one form shifts, the surrounding colors and spaces are perceived differently, prompting further decisions. The viewer’s gaze likewise moves between individual forms and the overall movement of the composition. Through this continuous negotiation of relationships, Choe discovers her own sense of balance and resolution within the painting process. The fluidity of her paintings emerges from an openness to possibilities revealed through the act of making, allowing each composition to evolve in response to what unfolds on the canvas.

Installation view of Between Forms at ATELIER AKI, 2026.

Where does form begin, and how does it take shape? Rather than offering a single answer, the practices of the three artists reveal the diverse possibilities through which form emerges and transforms. The intuitive movement of the hand in search of balance, memories and emotions absorbed into layers of ink, and decisions made in response to changes on the canvas each illuminate how form takes shape through distinct conditions and choices. Moving between lines in three-dimensional space and those on a painted surface, between the tonal variations of ink on hanji and fields of color on canvas, viewers are invited to discover how the meaning of form continues to shift according to their perspectives and experiences, even within a completed work. 《Between Forms》 draws attention to the relationship between the choices made during the creative process and the interpretations that emerge through viewing. In doing so, the exhibition proposes that the completion of a form be understood not as a final destination, but as a point from which new relationships begin.

Images: Courtesy of the artists and ATELIER AKI.
Text: Courtesy of ATELIER AKI.

ATELIER AKI
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