Yun Jeong Hong

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<Guppy Breeding: Being Orchid> 2007

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Poecilica reticulatus orchidopsis Computer tablet drawing, digital print

Part of installation Pencil, watercolor, computer editing, digital print

Into drawing 2. Guppy Breeding: Being Orchid 2007- Exhibition view at SOMA Museum Drawing Center, Seoul, South Korea

Poecilia reticulatus var. orchidopsis calathe discolor Computer tablet drawing, digital print

Fragmentary Thoughts on Drawing

By Yunjeong Hong

From the field of emptiness to the sphere of imagination - At one point, movement occurs in a vector field.

Form and structure detach from matter. An elaborate, private hideaway opens, floating in a sphere of differing condition. The more we walk, the wider a study is. A closed, and simultaneously open net; a fishbowl echoing its inside, outside; a water surface glittering at each corner; a shade cast by a tropical fish: looking at there I feel I have evolved with them ever billions of years. Evolved and then, when all changes, including form and scale, I contain them all in a new system.

Let our hands chronicle the moment when boundaries between things flying, running, and talking, are blurred.

Drawing performance, drawing by ink dripping automatic toy car with violin performance. Seoul, South Korea, 2002

"...In contrast to the curatorial role, the artist's in Indra's Net suggest a more interesting journey, one of "netting" between the projects. In this framework I consider myself to be the guest or tracker who is invited to the artist's project to add rhythm, noise, or texture. The title, Indra's Net, is after the mythological character Indra of the Buddhist story (the origin of the character came from Hindu), who uses a net as one of his signature tools. The net is considered a symbol of interconnectedness, and at every vertex there is a jewel and the jewels reflect images of each other. In Korean this net is called jae-mang, and people use this word to describe the unlimited and timeless relationship of everything in the world as denoted by the structure of the net and the reflections of the jewels. I chose this title because I wanted to be a "vertex" connecting these artists that have different relationships with history and with myself. I have been watching their projects and am fascinated by their ideas and attitudes, and by how I reflect myself in their works in order to understand my own interest in the work."

-from 'About Curating'

Yun Jeong Hong 09/05/2011

Shedding light on the tension underpinning internal and external drives, my artistic praxis has recently consisted of fabricating objects that demonstrate the gesture of becoming. Made from wood, books, and resin, Untitled;Anti-Oedipus (2010) represents a floor that extends organically, conveying the will of the splintered materials. As these fragments proliferate and collide with one another, their evolving configuration imparts the desire to become a floor, as well as the divergent motion of escaping. The topographical surface of this work mirrors the structure of narrative without a known: analogous to an autonomous machine, it produces a plot without a protagonist.

2010, Yunjeong Hong