No mistakes just happy doubts
2022. 02. 09 - 02. 27
Artist(s): Min Baek, Yeeun Nam, Sohee Kim, Shiori Park
Co-curated by sangheeut & Min Baek
Bringing together four artists, Min Baek, Yeeun Nam, Sohee Kim and Shiori Park, who use their own energy as fuel for creativity, No mistakes just happy doubts takes place from February 9 through February 27. Raising questions to the contemporary discourse which prioritises the result over the pleasure of creating and its process, the artists willingly enjoy the fluidity, improvisation, instinct sense to material and constant uncertainty. Reflecting on what way the artist contemplates the production and at which point the artwork obtains certain validity in public, the exhibition explores the creative process used as a primary motivation.
The artists do not aim at the specific target or make a definite plan. Initiated from the doubts from inside and outside, their works reveal the process of trial and error and reflect the pleasure from its process. The artists included in the exhibition present the visual and tactile pleasure produced derived from their own language and technique and suggest that those who blindly follow the mainstream discourse drop the anchor at the pleasure of creation.
Audiences enter the exhibition and encounter the installation How Do You Beat Glitter Zombie? (2022) by Sohee Kim (b. 1992). Kim focuses on the unexpected errors arising from repetitive acts. The artist frequently visits markets or hardware stores to purchase items that stimulate the desire to collect such as ready-made products, stickers and toys and utilise them as materials for her work. The spontaneous and instantaneous decisions often lead the artist in a certain direction. Without the firm idea for the result, Kim’s works uncover many coincidences and personal tastes. The artist adds the medium over the medium and transforms them. Seeing the trace of the artist’s touch in the work, audiences are encouraged to imagine her production process. Evoking a snack of our memories, What Happens When You Microwave Chicken Nuggets (2020) reveals Kim’s adventurous experiments with materials. Using the material easily changed in form with possibilities of physical change, the artist visualises the tactile sense by attaching the slime to the conventional art material.
Yeeun Nam (b. 1991) considers the body as one of the linguistic systems and explores the craftsmanship through working across painting, installation and sculpture. The artist carefully observes the non-linguistic element and form floating in the human body, emotion and thoughts. Works on display are results from her study of the area and volume in which the human body occupies outer space. The human organs and sensory nerves are invisible yet collaborate with each other. Flowing blood and hormone determine our emotions. Nam utilises her hand as a tool to communicate with her own body. Based on her ongoing exploration of non-verbal form, An Organ of Newly Discovered Animal in Ecuador (2022) and A Bone and a bone mended by a wood glue resulting in a perfect Valentine’s Day letter (2022) expand our imagination of the inner side by shaping and reconstructing the lung and its function or making the shape of hands smaller.
For the exhibition, Min Baek (b. 1994) presents Pinky Swear (2021) and Lavender Drive Thru (2021) that evoke flowing cracks in vivid colours. With a focus on the constant flows and changes in daily life, the artist embraces in the work the uneven texture and cracks in the surface. Within the boundary of the canvas, the artist intersects and brings together the conflicting debris and blurs its border, creating the organic composition and utilising accidental elements. Engaged with the keywords that then served as an important motivation, the artist becomes the subject of crossing and seeking alongside the materials that flow and run against each other.
Shiori Park (b. 1993) presents abstract paintings that combine monotype and pictorial attempts. As the artist describes, the print always engages with coincidence despite its sensitive and thorough process. For the artist, the process of printing the print with a press machine serves as a comma or rest allowing her to put a period to her work with a brush. The monotype is the closest technique to painting among other printing methods. Even at a brief glimpse, one can realise layer upon layer on her work. The drawings attached to the window in the exhibition unravel the clues and narratives that fail to be solved within the printmaking. Exploring the work composed of improvisation and choice, the artist connects individual elements and weaves them into inevitable beings and produces the work as if an author wrote a condensed novel.
There are no mistakes just unexpected coincidences at sangheeut and it would be inevitable that these artists meet each other here. As Bob Ross infamously said, No mistakes, just happy accidents!