COMPOSITION
Jeong works out the composition of single or multiple screens through the yin and yang relationship. For example, the “black-toned inverted triangles” in between two white, right-angled triangles compose a complete rectangle and show the “yang-yin-yang” harmony. On the contrary, the “white triangles” form a “yin-yang-yin” formation together with the actual background. The screen of black inverted triangles show a gradual difference in color from the bottom, and the upper border is the darkest in color. The senses experienced through light coloring accumulate and lead to delicate and subtle changes.
140x120cm
Muk on Korean paper
2010
Lines and planes, which are the elements of absolute form, resemble life of Jeong, whose objective is art. Dots, rectangles, and triangles, which are components of the big screen, are microcosmos in which both spirit (yang) and material (yin) exist, and therefore no different from the whole. The artist’s attitude towards life living every moment sincerely and to her best resembles her act of drawing out each of these parts.
Externally, the works of Jeong seem to be mere abstract paintings, but when looking into the content, they are extremely realistic and even practical. Therefore, the variation of the simple yet rich gradation brings about deep resonance. Moreover, the screen, which is overall based on monotone, attempts new change by utilizing not only black and white but also red, yellow, and green color schemes. Unlike the artist’s previous internal works, her recent works express the subject and situation of surroundings by utilizing sensible colors. She subtly expresses the heat of summer entering through her studio window and the autumn trees along the street in the same monochromatic method.
The works of Sun-jin Jeong are an artistic realization of the everyday life of which meaning is simultaneously given to the fundamental symbol of colors, sensitive and allusive thoughts, and the transcendental meaning of technique
