Moon Jinyoung

문진영, “해체”가 서있는 경계, 마지, 한지, 안피지, 91x91cm

The artist works by tearing apart a single sheet of paper. This is a production that uses “deconstruction” as its material. The “deconstruction” that represents the production is distinctive. In this process, “deconstruction” inevitably creates “order” in the process of appearing in a state of being torn and separated, and “order” also reveals its true nature through the rifts and separation of “deconstruction.” There is an irony in the fact that things with opposing qualities can only exist in a state of mutual coexistence, like two sides of a coin, and the artist can be said to use this double-sidedness as a starting point for his work.

The painting thus brings the abstract state of disintegration into a single form, showing the process of communication in a performative way. For the artist, the aesthetic attitude seen in the “artistic conception” of literati painting became the clue that connected the performative act of the work. The artist focuses on the invisible boundary between the object and myself that arises in my consciousness, using the interpretation of “artistic conception” as a clue, “the invisible boundary between the object and me, what is depicted in my consciousness”. Going beyond the visible boundary between “disintegration” and “order” seen on the surface of the work, he proceeded with the work by consciously confronting the problem state of “the substance of the problem that exists in me now – disintegration” through this work.

문진영, 해체된 것이 맞이할 시적 순간, 마지, 한지, 안피지, 금박, 130x130cm

After graduating from Sungkyunkwan University’s Graduate School of Fine Arts in Korea in 2004, the artist traveled to Japan to study traditional materials and techniques in the East. In 2006, he entered the Tokyo University of the Arts Graduate School of Fine Arts, graduating with a master’s and doctoral degree in the Department of Cultural Heritage Conservation. He has since worked as a lecturer and researcher at the Tokyo University of the Arts Graduate School of Fine Arts while continuing his creative endeavors. While involved in a mural restoration study at the time, the artist had the opportunity to deepen his awareness of the issues surrounding the expression of human uniqueness based on traditional culture and his attitude toward the world. The Great East Japan Earthquake of March 11, 2011 prompted him to begin creating abstract works that fully embraced these issues.

문진영, 두사람 -말레비치에 의해 남겨진 터 위에서 > 시리즈2, 마지, 합성수지, 한지, 안피지, 100x100cm

Moon Jinyoung has been researching traditional materials and techniques for many years, but rather than completely following traditional materials and techniques, he felt the need to go through a process of reinterpreting the techniques. The artist was interested in the aesthetics that certain techniques tried to incorporate, especially the native Korean aesthetic. The traditional technique of “kuisaki” (paper cutting), which was used to join the pieces of paper in this work, was paradoxically used in this work to express the aspect of separation in “demolition.”

문진영, 두사람 -말레비치에 의해 남겨진 터 위에서 >시리즈1, 마지, 한지, 안피지, 100x100cm

This exhibition will include the representative series “Poetic Moments of Dismantled Things,” as well as the “Two – From the Place Left Behind by Malevich” series, which pays homage to the work “Black Square” exhibited at the 1915 <0.10> exhibition by Kazimir, Severinovich, Malevich (1879-1935), who paved the way for pure abstract painting, and his 1981 work “White on White,” along with many other works.
The title of the homage piece, “Two -,” personifies the power of dismantling and order. “From the Place Left Behind by Malevich” has the significance of exploring the essence of painting, which places a new point of orientation once again on the flat surface that was annihilated by Malevich as “matter itself” in the form of “nothing/zero.”

Through this exhibition, I think the hidden point of appreciation is to see how the artist questions the ambivalence of the world that is looming in the phenomenon of disintegration in the postmodern era, and what it means to relate to it, in abstract painting, which is the pictorial challenge of modernity, the pursuit of essence.

Gallery Q Tokyo
1-14-12-3F Ginza Chuo-ku Tokyo Japan
+81-3-3535-2524

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