{"id":58392,"date":"2026-05-06T13:14:27","date_gmt":"2026-05-06T04:14:27","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=insights&p=58392"},"modified":"2026-05-06T13:14:27","modified_gmt":"2026-05-06T04:14:27","slug":"some","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/58392","title":{"rendered":"SOME"},"content":{"rendered":"

BYEN UNG-PIL<\/p>\n

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Byen Ung-pil, SOMEONE, 54cmx42cm, varnished oil on canvas, 2026<\/em><\/p>\n

Even in times when nothing seems to happen, there are moments that become strangely vivid. They are too small to be named, and by the time one tries to explain them, they have already passed. The paintings of Byen Ung-pil seem always to linger around that threshold.<\/p>\n

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Byen Ung-pil, SOMEONE, 74cmx54cm, varnished oil on canvas, 2026<\/em><\/p>\n

There is \u201csomeone\u201d in his paintings. Yet that someone is never fully specified. The face is clear, but the identity remains vague. It is not without expression, yet its emotion is never easily legible. Having painted self-portraits for many years, the artist eventually began to encounter more anonymous faces in the place where he had erased himself. Faces that are unfamiliar yet strangely intimate, belonging to no one and yet somehow resembling us. Perhaps, by gradually erasing himself, the artist came closer to these faces.<\/p>\n

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Byen Ung-pil, SOMEONE, 74cmx54cm, varnished oil on canvas, 2026<\/em><\/p>\n

These faces do not insist on saying anything. The same is true of the smiles on the canvas. They appear to be smiling, but it is difficult to determine what kind of feeling the smile contains. Whether it is sincere, habitual, or merely a painted expression, the more one looks, the more it seems knowable, only to recede again. Perhaps it is precisely this unknowability that makes us look for longer.<\/p>\n

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Byen Ung-pil, SOMEONE, 118cmx92cm, varnished oil on canvas, 2026<\/em><\/p>\n

In this exhibition, that act of \u201cremaining\u201d is not limited to the figure. Objects, landscapes, and things placed somewhere between them coexist within a single image. Rather than being distinguished from one another, they simply remain together. The artist calls this \u201csome.\u201d These are things that are clearly visible yet difficult to define, sensations that seem to pass by but never completely disappear, moments that approach us before they can be arranged into thought.<\/p>\n

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Byen Ung-pil, SOMETHING, 54cmx42cm, varnished oil on canvas, 2026<\/em><\/p>\n

The process of painting is likely not so different. The artist accepts, without resistance, the moments that slightly go astray within repeated brushstrokes. He waits for certain things to emerge from the subtle differences that arise between composed lines and familiar colors. Because they are not predetermined, they become even more distinct. Because they are not explained, they remain even longer.<\/p>\n

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Byen Ung-pil, SOMETHING, 90cmx147cm, varnished oil on canvas, 2026<\/em><\/p>\n

The paintings of Byen Ung-pil do not ask us to understand or define something. Instead, they invite us to pause and look. Rather than searching for meaning, they allow us to become aware of sensations already passing by, and to think about moments that need not be special, and need not remain as memory, in order to be enough.<\/p>\n

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Byen Ung-pil, SOMETHING, 90cmx147cm, varnished oil on canvas, 2026<\/em><\/p>\n

Perhaps we already knew that the days that passed without incident are the ones that remain with us the longest.<\/p>\n

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Byen Ung-pil, SOMETHING, 147cmx113cm, varnished oil on canvas, 2026<\/em><\/p>\n

And so now, we stand before those \u201csome\u201d scenes.<\/p>\n

Song Ji-won, Curator, Gallery NoW<\/p>\n

Gallery NoW<\/div>\n
16, Eonju-ro 152, Gangnam-gu, Seoul, Korea<\/div>\n
02-725-2930<\/div>\n
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WEB<\/a>\u00a0\u00a0INSTAGRAM<\/a>\u00a0\u00a0YOUTUBE<\/a>\u00a0\u00a0ARTSY<\/a><\/p>\n<\/div>\n","protected":false},"featured_media":0,"template":"","categories":[50,51],"class_list":["post-58392","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\/58392","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=58392"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/categories?post=58392"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}