Jeongkeun Lee

"My works are performed in the way of a ritual. The effect may not be extreme, though I find a sense of security through the process and my accumulated works could reflect the transformation of my thoughts and provide comforting atmosphere at the same time. I would not say that the ritual is effective. However, gathered people with the same belief brings meanings and finds comfort. Recently, these works are parts of the project that I am focusing on; it can be Recently, these works are parts of the project that I am focusing on; it can be installed in frames and as installation. The water filled in plastic gloves are used to employ for preventing bugs by reflection like scarecrow at traditional street market in Korea. Even though there are the advanced method with technology, primitive and less effective water-filled plastic gloves still are occupying the shops. I take it as incantatory faith and hope to prevent misfortune and this hypothesis is the starting point of this project. According to this theory, the plastic glove becomes cathexis of hope and ceremonial object continuously plastic glove becomes cathexis of hope and ceremonial object continuously progressing my work. What makes the icon is that its repetitive uses by various people with the fixed meanings and purposes. I am transforming a mundane matter to the symbolic object by giving them meanings. Through installation of plastic gloves at the places that I want to protect, the glove is developed as the keeper of the hope. The performance is similar to making a talisman. Belief in talisman could be desperate hope for someone, but it could be meaningless and lousy to someone else. However, to whom it needs, it gives emotional comforts and brings belief.’

‘My art works mostly come into action with landscape, my thoughts or desire expressed with natural phenomenon metaphorically. Still various attempts have been proceeded in these day. I would like to talk about my basic instinct through my works. A basic instinct is an innate emotion or urge which cannot be taught by experiences or educations. My images started from regrets and my urge to capture those passing moments. Visible but formless and untouchable remembrances are attempted to be caught inside the glass case and photography. <Pause series> expressed my desire to archive clouds, smokes or waves; we are aware if their existence but they can never be around permanently. Beyond this impossible possession, this insatiable desire now arouses another question about around permanently. Beyond this impossible possession, this insatiable desire now arouses another question about forms. Through my continuing work <Catch Me If You Can series>, I started to depict my instinct to visualise the sound and touch of winds in a place where i could feel them. During my experience with nature, I happened to think of the juxtaposed relationship between people and Mother Nature. People use artificial angles and lines to preserve nature in a way that can never occur naturally. This idea of impossible coexistence of artificial straight lines by people and organic substances from Mother Nature led to <Depaysement series>. Depaysement is a word used in surrealism meaning ‘elimination’. It is eliminating an object from its rational relationship and word used in surrealism meaning ‘elimination’. It is eliminating an object from its rational relationship and placing it in an unnatural position. While I was blocking natural sceneries with artificial objects, my work continues to make me think that people and nature find it difficult to accompany each other. Even though it is difficult to assimilate, I wanted to discover my own way to mingle with nature and started to work under the title, <Personal Ritual>, I expressed my wishful spell for harmony with Mother Nature in more sincere and traditional ways rather than a technical and cynical method by plastic gloves which used to use in Korean street market for driving away insect, despite of feeble effects, plastic gloves still hang in the market. It looks like market for driving away insect, despite of feeble effects, plastic gloves still hang in the market. It looks like superstitious belief on gloves. Through repetition of installation, I want to make these gloves as an icon of protection. Namely, through symbolise icons, our nature protected by ritual."

16 June – 19 June 2013 Flat in Flat, Seoul

3 Sep – 9 Sep 2013 Triangle Festival, Homa, Seoul

30 Nov – 14 Dec 2013 Newbanran, Gyeonggi Museum of Modern Art

26 May – 1 June 2017 Under the See, The Crypt Gallery, London

9 Aug – 4 Sep 2017 The Winner of the Sunny Art Prize, Sunny Art Centre, London

21 Aug – 22 Aug An Excuse, Square Gallery, London

2016-2018 Photography Master’s Degree, Royal College of Art, London, UK

2014-2015 Media Arts Bachelor of Fine Arts, Seoul Institute of the Arts, Ansan, South Korea

2008-2013 Photography AA (3-years program), Seoul Institute of the Arts, Ansan, South Korea

CA Magazine – Issue 1: https://issuu.com/camagazineart/docs/issue_1

Syrup Magazine – Issue 2 p. 69: http://syrupmagazine.co.uk

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