Sujung Lim’s work dissects the relentless pursuit of status, beauty, and material wealth in modern society. Having observed the way consumerism shapes social interactions, she explores how individuals, particularly women, navigate the pressures of external validation. In a world where success is often measured by possessions, Sujung’s subjects flaunt luxury goods not just as accessories but as shields against the fear of failure. This desperate need for recognition breeds an unconscious drive for power, turning personal aspirations into cycles of dominance and social competition.

In this piece, Sujung captures Centum City, Busan’s hub of wealth and exclusivity, through the lens of a female protagonist entangled in the trappings of materialism. With a mix of realism and parody, her figures reflect a modern gaze shaped by societal expectations and a craving for admiration. Their expressions teeter between envy and imitation, revealing a quiet sorrow beneath the surface. By mirroring these preoccupations, Sujung challenges viewers to question the pursuit of status and the loss of genuine selfhood in an image-driven world.

Sunhwa Jeon transforms colorful fabric into intricate three-dimensional compositions, drawing inspiration from the keepsakes she discovered in her grandmother’s home as a child. Her work reflects a deep connection to nature’s ability to soothe the soul, offering a moment of stillness in an ever-rushing world. Through her signature “aesthetic of slowness,” Sunhwa creates wish lanterns and portraits that evoke harmony, balance, and a gentler pace of life.

Now residing in Seogwipo, Jeju Island, Sunhwa finds endless inspiration in the island’s natural beauty. Nestled between Hallasan Mountain and the sea, her surroundings shape her artistic vision, particularly her fascination with light. From the golden glow of tangerine fields to the shifting blues of the coastline, these fleeting moments imprint themselves onto her consciousness like photographs, later reimagined in her artwork. By weaving light and memory into fabric, Sunhwa’s work captures the essence of Jeju’s tranquil spirit, offering viewers a glimpse into a world where time slows and nature speaks.

For Soo-Yeon Kim, space is the foundation for understanding human interactions. Her work explores the invisible dynamics that shape relationships, from personal connections to broader social structures. She is particularly drawn to the way individuals experience the same physical environment in distinct aesthetic and emotional ways, a concept she refers to as the “paradox of space.”

In her Jeju collection, Soo-Yeon celebrates the island’s sea, forests, and rapeseed fields, translating her memories into bold colors and structured spatial forms. By layering oil paint, she allows her emotions to surface, capturing the most dominant sensations of Jeju’s landscape. Here, the soft greens of the forests merge into a fresh, harmonious atmosphere, inviting viewers to engage with the island not just as a location, but as an emotional and psychological landscape shaped by cultural heritage and unique geography.

Paju is a unique city located close to the Demilitarized Zone (DMZ), Panmunjom and the Joint Security Area (JSA). It is a borderland where North and South Korea meet in precarious fashion, and a place where visitors can experience the tumultuous history of a ruthlessly divided nation. Although one can view the hermit kingdom of North Korea from afar, they are constantly reminded of the scars and conflict that endure to this day. As a resident, Serang notices the lingering traces of war in combination with the beautiful natural landscape that remains untouched by human hands. Within this space, she is inspired by the intersections of tradition and modernity, local ties and transnational mobility, and rural and urban life.

Using traditional Korean, Chinese and Japanese ink, as well as various coloring, marking and paper-laying techniques, Serang captures the spirit of constant change. She converts festering anxieties and confusions into creative fragments; torn apart, colliding, recombining, and reconnecting to unravel a myriad of possibilities previously unknown.

Inspired by Naganeupseong Folk Village, Elly Song’s imaginary Minari Village employs the traditional jinchae technique to depict the lively ecology of the Korean countryside, dissolving natural seokchae pigments into water and applying them to silk in a series of layers. She also uses natural dyes extracted from pure indigo and mulberries to express the magic of nature and visualize an enchanting, heterotopian vision for all to enjoy.

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