Sohn Jinah Solo Exhibition, Nature – Inscape

15th January 2016- 20th January 2016

Sohn Jinah Solo Exhibition | Nature – Inscape

Sohn pays attention to the most basic formal elements and structures drawn out by the dots, lines, planes, and patterns that convey the afterimages of a certain change. Sohn’s works that have now returned to lines and patterns seem to have arrived at a point of change and transformation that seeks a silent something through a repetitive performativity. The act of filling out the screen is in itself a composition of loose and tight lines and planes, in the manner of seeking to liberate something. Although not a rhythm of the strict lines and planes that Mondrian had pursued, Sohn’s art hints at the restrained aesthetics of theosophy that seeks spirituality through the most fundamental combinations of lines and planes. However, while Sohn’s lines are infinitely repeated as if immersed in something, nothing is obsessed with repeated forms or patterns. The brush repeatedly loosens and generates tension as if it has been liberated, but these structures are visualized as patterns. At such a moment, the artist resists the repeated pattern yet again and produces an ocean of infinite patterns between the flowing lines and the nervous lines.

The representation of form or allegory is now gone. However, the decorative structure and the drawing-like nature of the numerous lines in Sohn’s art depend on one another and reconcile, and at certain points stand on guard and produce tension. Like a structure of yin and yang, the positive space and negative space dance to the rhythm and dominate the screen.

Different elements depend on and harass one another. The art that has returned to primary structures does not convey any specific story. all abstract paintings that each encounter chance. The world of abstract paintings conveys not just the plane, but a peculiar depth as well. What would be the next step for Sohn, now that she has returned to lines and patterns. We sometimes forget that artists go through the process of endless labor and bodily movements. The beautifully expressed flow of lines, splendidly located dots, colors reminiscent of the Mediterranean’s intense light are convey the time, sweat, and labor that the artist had to devote. Would not the term “performativity” be an expression to be used at such moments. At such point of transformation, would not Sohn’s basic structure signify the artist’s heart that has returned to the degree of zero. With the structure that has returned to zero, the artist has come back to the basics. As Roland Barthes’s Writing Degree Zero, Sohn returns to degree zero and writes or paints with lines and patterns. At this exhibition, the artist’s art is already headed toward yet another zone. Material or spiritual, loud or silent, line or pattern.

Crystal Cho creative director, Gallery Huue