2013

Whispering Beyond The Curtain

Tags

  • <1-117NODE> Group ExhibitionArt Creative Center residency, Seoul, Korea
  • Ceramic casting, Object, LED,  Fabric,  Senser, etc.
  • Installation 3×3×4m

2012

Monologue ; 35th in Elsewhere

Tags

  • Elsewhere collaborative Residency, NC, USA, Oct3 to Nov 2012
  • <MONOLOGUE; 35th in Elsewhere> Independent Published in Korea
  • Copyright: Naeun Jeon
  • Limited Edition 200 copies
  • Supported: Gangwon Art & Culture Foundation in Korea, Elsewhere collaborative in USA
  • E-Book Link
  • +more

     35th in Elsewhere

     

    Naeun Jeon created a series of vitrine installations inside a 1960s television, based on  entries from her personal diary she translated into text from movies, music lyrics and proverbs, and then interpreted as a tableau with collection materials. Where the text itself appears, it is embroidered onto fabric, referencing Jeon's sensitivity to a grandmotherly presence from Sylvia Gray. The television was lit from within by LEDs, only visible at night through the window from outside the building, and Jeon deinstalled before she left, creating a sense of precious ephemeriality around the work.

     

     -Aislinn Pentecost-Farren-

     

     

     

    Why is it important for Elsewhere? For your work?

     

    Hoardiculture; Since the Great Depression, there has been many factories accumulated a stack of surplus objects such as cotton patches, interior decorations, ribbons and toys in Elsewhere for 58 years. The growth of Korea’s cultural and economic level has been skyrocketed, recently.

    As a result, various new products such electronic devices, fast fashion, fast-food has poured out. It is necessary to Koreans and to Americans but also to other contemporaries to consider surplus generation and surplus products.

     

     

     

    Could Sylvia’s collection become a thinking playground?

     

    The word object comes from the Lation word for ‘objicere’ meaning to throw forward. It is 'object' in English and 'objet' in French. Object is a counter concept of subject. It is something a human can notice and think about. The role and function of 'object' is changeable by the man who conceives the concept. Sylvia’s object, as ‘a playground of thinking’ gave me some clues to extend my work.

     

     

     

    What is the project idea?

     

    A diary is like a naked man. That is emotional, personal and subjective. My work starts from drawing of my daily records. Especially, tension from unfamiliar places, fear and thrill can be a great motive for my work. I borrow many clichés from movie scripts, lyrics and old sayings to conceal the feeling ofbeing entirely naked. These words are re-interpreted with light, object and stage. The 35 days in Elsewhere are recorded on Facebook, and they are shared with myriad unknown people beyond the limit of fathomable distances.

     

    What meaning, message, feeling, or idea would you like people who experience your project to take away?

    A little girl lit the match and started the fire. The scene shows through window making us feel relaxed. The warm image in the match fire released our anguish for a while. I would like for people to have sympathy and lose their burden in the real world through my sweet and fantastic images and texts.

     

    What impact has your project had on your own practice?

     

    Sylvia’s collection offered a clue like puzzle pieces. In particular, an embroidery drawing inspired me to view texts in a different way. It carries certain feeling through the colour of cotton and thread, thickness and the texture.

     

    How do you see the future of your project within Elsewhere?

    Cherry blossom is beautiful because it disappears quickly. My works disassembled and disappeared in Elsewhere. I wish that my works would be remembered by someone’s memory as one would the scent of cherry blossom. I will keep doing my best to sympathize with my consumers through object, text, light through many various experiments hoping that any past moment could provide a meaningful present-day echo.

2012

 If years or petals are scattered,

Are scents disappearing?

Tags

  • First Solo exhibition
  • Gallery175  Anguk-dong Jongno-gu Seoul Korea
  • Supported: Korea National University of Arts
  • Installation, Ceramic casting, Object, LED,  Fabric,  Senser, etc.
  • +more

    2012

     

     If years

    Or petals

    Are scattered,

    Are scents

    Disappearing?

     

    Preud defined a scene is a point for seeing of consciousness and unconsciousness. These works produce theatrical scenes from 36 small stages. Illumination is turned on with the sound of a orgel in dark as pitch night. It is used object for staging dramatic, psychological, topic changes; directing fast or slow time flow, emotional change through the light and darkness, colors, focus of lighting. Heros on the stages are 5cm figures manipulated after casting. Dramatic scenes directed only using a few simple objects and a stage. My works show fragment images rather than narratives in a movie or play. Although spectators don't know a whole story, they can imagine to grasp a commonly, old-fashionedly ideal concept for understanding a whole tale. I wish they could feel nostalgia unexpectedly, experience a childishly sweet fantasy over real life through seeing between platitudinous texts with intimacy and object's images.

     

          Proposal

         The beginning of postmodernism in visual arts has increased demand for paintings. At the same time, performing arts has started booming because they have values of the experimental spirit and challenge about multi-cultural, multi-genre.

     

         For three years in KNUA(Korea National University of Arts), I have learned a lot of media: for example, oil painting, ceramic, casting, woodwork, photograph. By using a lot of media, I has been broadening the scope of the work from visual arts to multi-genre. <Thirty-six Scenes> starts from collection of text and image. The purpose of these scenes is not to show miniatures on the stage in the theatre. I tried to show encountering between white cube in gallery and black cube in theatre through theatrical mise-en-scene. These small figures(ceramic dolls) are actors and actresses. They are integrated with background, music, illumination on the stage to act like actors in reality. At an very instant, my doll will be a live subject in its breath. The interactive relation between Visual artistic elements and theatrical elements makes audiences attract into works.

     

         In this way, I have constantly tried a lot of technical attempts. I have felt, however, the limit in a few technical things like automovement, illumination etc. I think Rijksakademie only can give me chance to do much more experiment using a verity of technical media and dialogue with another technician, artists,  If you give me two years, I will be able to improve my works by using various media and mixing genres multifully.

2011

Untitled

Tags

  • Installed in Korea National University of Arts
  • Installation art, Plaster casting, Object, etc.

2010

Drawing

Tags

  • Acrylic on paper
  • 24.5×22.5cm

Print Making

Tags

  • Installed in Korea National University of Arts
  • Print making, Collagraphy
  • 71×71cm

2009

Drawing

2008

Print Making

Tags

  • Installed in Korea National University of Arts
  • Print making, Collagraphy, lithography

Drawing

 2013

Whispering Beyond The Curtain

Tags

  • <1-117NODE> Group ExhibitionArt Creative Center residency, Seoul, Korea
  • Ceramic casting, Object, LED,  Fabric,  Senser, etc.
  • Installation 3×3×4m

2012

Monologue ; 35th in Elsewhere

Tags

  • Elsewhere collaborative Residency, NC, USA, Oct3 to Nov 2012
  • <MONOLOGUE; 35th in Elsewhere> Independent Published in Korea
  • Copyright: Naeun Jeon
  • Limited Edition 200 copies
  • Supported: Gangwon Art & Culture Foundation in Korea, Elsewhere collaborative in USA
  • E-book Link
  • +more

     35th in Elsewhere

     

    Naeun Jeon created a series of vitrine installations inside a 1960s television, based on  entries from her personal diary she translated into text from movies, music lyrics and proverbs, and then interpreted as a tableau with collection materials. Where the text itself appears, it is embroidered onto fabric, referencing Jeon's sensitivity to a grandmotherly presence from Sylvia Gray. The television was lit from within by LEDs, only visible at night through the window from outside the building, and Jeon deinstalled before she left, creating a sense of precious ephemeriality around the work.

     

     -Aislinn Pentecost-Farren-

     

     

     

    Why is it important for Elsewhere? For your work?

     

    <Hoardiculture>

    Since the Great Depression, there has been many factories accumulated a stack of surplus objects such as cotton patches, interior decorations, ribbons and toys in Elsewhere for 58 years. The growth of Korea’s cultural and economic level has been skyrocketed, recently.

    As a result, various new products such electronic devices, fast fashion, fast-food has poured out. It is necessary to Koreans and to Americans but also to other contemporaries to consider surplus generation and surplus products.

     

     

     

    Could Sylvia’s collection become a thinking playground?

     

    The word object comes from the Lation word for ‘objicere’ meaning to throw forward. It is 'object' in English and 'objet' in French. Object is a counter concept of subject. It is something a human can notice and think about. The role and function of 'object' is changeable by the man who conceives the concept. Sylvia’s object, as ‘a playground of thinking’ gave me some clues to extend my work.

     

     

     

    What is the project idea?

     

    A diary is like a naked man. That is emotional, personal and subjective. My work starts from drawing of my daily records. Especially, tension from unfamiliar places, fear and thrill can be a great motive for my work. I borrow many clichés from movie scripts, lyrics and old sayings to conceal the feeling ofbeing entirely naked. These words are re-interpreted with light, object and stage. The 35 days in Elsewhere are recorded on Facebook, and they are shared with myriad unknown people beyond the limit of fathomable distances.

     

    What meaning, message, feeling, or idea would you like people who experience your project to take away?

    A little girl lit the match and started the fire. The scene shows through window making us feel relaxed. The warm image in the match fire released our anguish for a while. I would like for people to have sympathy and lose their burden in the real world through my sweet and fantastic images and texts.

     

    What impact has your project had on your own practice?

     

    Sylvia’s collection offered a clue like puzzle pieces. In particular, an embroidery drawing inspired me to view texts in a different way. It carries certain feeling through the colour of cotton and thread, thickness and the texture.

     

    How do you see the future of your project within Elsewhere?

    Cherry blossom is beautiful because it disappears quickly. My works disassembled and disappeared in Elsewhere. I wish that my works would be remembered by someone’s memory as one would the scent of cherry blossom. I will keep doing my best to sympathize with my consumers through object, text, light through many various experiments hoping that any past moment could provide a meaningful present-day echo.

2012

 If years or petals are scattered,

Are scents disappearing?

Tags

  • First Solo exhibition
  • Gallery175  Anguk-dong Jongno-gu Seoul Korea
  • Supported: Korea National University of Arts
  • Installation, Ceramic casting, Object, LED,  Fabric,  Senser, etc.
  • +more

    2012

     

     If years

    Or petals

    Are scattered,

    Are scents

    Disappearing?

     

    Preud defined a scene is a point for seeing of consciousness and unconsciousness. These works produce theatrical scenes from 36 small stages. Illumination is turned on with the sound of a orgel in dark as pitch night. It is used object for staging dramatic, psychological, topic changes; directing fast or slow time flow, emotional change through the light and darkness, colors, focus of lighting. Heros on the stages are 5cm figures manipulated after casting. Dramatic scenes directed only using a few simple objects and a stage. My works show fragment images rather than narratives in a movie or play. Although spectators don't know a whole story, they can imagine to grasp a commonly, old-fashionedly ideal concept for understanding a whole tale. I wish they could feel nostalgia unexpectedly, experience a childishly sweet fantasy over real life through seeing between platitudinous texts with intimacy and object's images.

     

          Proposal

         The beginning of postmodernism in visual arts has increased demand for paintings. At the same time, performing arts has started booming because they have values of the experimental spirit and challenge about multi-cultural, multi-genre.

     

         For three years in KNUA(Korea National University of Arts), I have learned a lot of media: for example, oil painting, ceramic, casting, woodwork, photograph. By using a lot of media, I has been broadening the scope of the work from visual arts to multi-genre. <Thirty-six Scenes> starts from collection of text and image. The purpose of these scenes is not to show miniatures on the stage in the theatre. I tried to show encountering between white cube in gallery and black cube in theatre through theatrical mise-en-scene. These small figures(ceramic dolls) are actors and actresses. They are integrated with background, music, illumination on the stage to act like actors in reality. At an very instant, my doll will be a live subject in its breath. The interactive relation between Visual artistic elements and theatrical elements makes audiences attract into works.

     

         In this way, I have constantly tried a lot of technical attempts. I have felt, however, the limit in a few technical things like automovement, illumination etc. I think Rijksakademie only can give me chance to do much more experiment using a verity of technical media and dialogue with another technician, artists,  If you give me two years, I will be able to improve my works by using various media and mixing genres multifully.

2011

Untitled

Tags

  • Installed in Korea National University of Arts
  • Installation art, Plaster casting, Object, etc.

2010

Drawing

Tags

  • Acrylic on paper
  • 24.5×22.5cm

Print Making