{"id":36262,"date":"2023-10-27T13:41:39","date_gmt":"2023-10-27T04:41:39","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=insights&p=36262"},"modified":"2023-10-27T15:49:37","modified_gmt":"2023-10-27T06:49:37","slug":"%ec%95%84%eb%ac%b4%ea%b2%83%eb%8f%84-%ec%95%84%eb%8b%88%ea%b3%a0-%ec%95%84%eb%ac%b4%ea%b2%83%eb%8f%84-%ec%95%84%eb%8b%88%ea%b3%a0-%ec%95%84%eb%ac%b4%ea%b2%83%eb%8f%84-%ec%95%84%eb%8b%8c","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/36262","title":{"rendered":"Nothing, Nothing, Nothing at All"},"content":{"rendered":"

Jinpyo Jun<\/p>\n

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JJ Joong Jung Gallery, Jinpyo Jun Installation view, 2023<\/figcaption><\/figure>\n

JJ Joong Jung Gallery is pleased to present <Nothing, Nothing, Nothing at All>, a solo exhibition of Jinpyo Jun. This exhibition marks the artist’s first solo show at the gallery, following the two-person exhibition , held at JJ Joong Jung Gallery in 2020.<\/p>\n

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JJ Joong Jung Gallery, Jinpyo Jun Installation view, 2023<\/figcaption><\/figure>\n

Jun assumes that the essence of painting lies within the process and aims to enable generative reasoning from it. His works achieve perfect harmony within a single canvas, while each layer metaphorically encapsulates the transitory and variable nature of different moments in time. Rather than emphasizing the dichotomy of completion and incompleteness, the artist immerses himself in the process itself, and the viewers can experience this journey through his body of works shown in this exhibition.<\/p>\n

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JJ Joong Jung Gallery, Jinpyo Jun Installation view, 2023<\/figcaption><\/figure>\n

In his artist’s statement, Jun mentions that his interest lies in “lively movements and activities beyond or clustered in between the gaps of the epidermal world.” Deriving from his early experiences in the theatrical world, where his father used to work, and his background as an art director for music videos, Jun incorporates those momentariness and processes into his paintings. His early works drew inspiration from the metal structural forms of construction sites with multiple viewpoints. However, over time, he started applying the removal of perspective, the expansion of gazes, and cyclical elements to his works. Currently, he repeatedly juxtaposes similar layers on the canvas. The prominent series titled Ostinato<\/em> is rooted in the music of American contemporary composer Philip Morris Glass. Glass’s music is based on the free amplification, transformation, and repetition of a few musical notes. Jun translates this characteristic of “Ostinato” into his paintings by using colors from a specific range of palette repetitively and rhythmically, highlighting and continuing to experiment the infinite nature of the process of painting.<\/p>\n

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JJ Joong Jung Gallery, Jinpyo Jun Installation view, 2023<\/figcaption><\/figure>\n

Jinpyo Jun lives and works in Seoul, South Korea, where he explores the discourse on the role and meaning of process in painting. He is currently a represented artist of JJ Joong Jung Gallery.<\/p>\n

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JJ Joong Jung Gallery, Jinpyo Jun Installation view, 2023<\/figcaption><\/figure>\n

This exhibition provides an opportunity to explore the artist’s new body of works. The viewers would be able to experience an infinite sense of space and temporality through the works continuously interacting visually among one another within the exhibition space.<\/p>\n

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JJ Joong Jung Gallery, Jinpyo Jun Installation view, 2023<\/figcaption><\/figure>\n

JJ JOONG JUNG GALLERY
\n7-12, Pyeongchang 10-gil, Jongno-gu, Seoul, Republic of Korea
\n+82 2 549 0207<\/p>\n

WEB<\/a>\u00a0 \u00a0 \u00a0INSTAGRAM<\/a>\u00a0 \u00a0 \u00a0YOUTUBE<\/a>\u00a0 \u00a0 ARTSY<\/a><\/p>\n","protected":false},"featured_media":0,"template":"","categories":[50,51],"class_list":["post-36262","insights","type-insights","status-publish","hentry","category-insight","category-stories"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"en","enabled_languages":["ko","en"],"languages":{"ko":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights\/36262","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights"}],"about":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/types\/insights"}],"wp:attachment":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/media?parent=36262"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/categories?post=36262"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}