Ahyun Jeon at work in her MFA studio at the School of Visual Arts.
1) Could you introduce yourself? Where are you from, and where did you study art? When did you first see yourself as an artist?
Hello. I'm very pleased to have this interview with you, Chun. Thank you.
I began studying art in Korea in 2007. I graduated from the Department of Fine Arts at Ewha Womans University and received my Master’s degree from the Fine Arts at School of Visual Arts. I first saw myself as an artist after the age of 18. Although I had been studying art before then, it was around this time that I began to freely express what I wanted to convey.
Self Defense 02
2) In your earlier paintings from 2019 and 2020, why do the figures have no hair? At the same time, am I right that these figures appear a bit like Buddhist monks or Buddha Himself,
with bald heads?
Honestly, I didn’t paint the bald head for religious reasons. I wanted the characters in
my work to not be specific individuals. When people view my work, I want them to freely
imagine rather than think of someone specific. Therefore, I draw the eyes, nose, and mouth
ambiguously and remove the hair to avoid indicating a specific gender.
Do you remember yesterday
2023, Oil on canvas, 16 x 20 inches
3) In the P@r@sitic series from 2019 and 2020, the faces appear bruised and healing at the
same time. Were you looking at the South Korean artist, Shin, Kwangho, as well as Francis
Bacon, as sources of inspiration? Also, were you influenced by the Modern examples of
post-Impressionism, Fauvism, and Expressionism in using color as vehicles for emotional
(and often psychological) expression?
Oh, I’m so glad you mentioned Francis Bacon. I really like Francis Bacon. However, I
consider him one of my favorite artists rather than a source of inspiration. As you mentioned,
I think the expressions of Fauvism and Impressionism are melted in my work. At the same
time, I believe I am greatly influenced by Korean art, especially in the abundant use of space
and the simple forms that appear in my work.
Hangnail 01
2023, Watercolor, Acrylic, and Oil on canvas, 30 x 38 inches
4) In your statement, you speak of self-defense mechanisms and argue that you merge the
physical boundary of our body with the psychological boundaries that people put together to
avoid getting emotionally hurt. How do you permit in your work an independent reading or
understanding by others to arrive at this kind of meaning that you intend as an artist? What
separates your painting about the coinciding of psychological and the physical boundaries
that people have or establish, from other paintings that also involve figures? Or does every
one of your works require a reading of your artist statement for the audience?
I believe in giving freedom of interpretation, so I don't think there is a fixed
interpretation of my paintings. I respect the viewers' opinions, whether they see it positively,
negatively, or somewhere in between. Listening to various stories sometimes helps me
discover other meanings that I unconsciously conveyed. Therefore, I don’t think viewers
need to read a statement before appreciating my work. The meaning and story of the
painting exist within the artwork itself, allowing for freedom of interpretation.
Hangnail 02
2023, Watercolor, Acrylic, and Oil on canvas, 30 x 38 inches
5) Did you use different materials, such as transparent vinyl or plastic, over your figures in
some of your more recent paintings from 2022? What do they signify?
I didn't use different materials; I realistically depicted plastic. I like to balance between
abstraction and representation, but I also enjoy realistic expression. To contrast with the
unrealistic figures, I realistically depicted plastic wrap. This creates a confusion between
reality and unreality, symbolizing a defense mechanism. It’s interesting that although these
behaviors and expressions are meant to psychologically protect oneself, they do not actually
provide real protection.
Clap, pray, love
2023, Watercolor, Acrylic, and Oil on canvas, 48 x 60 inch
6) What new directions were you exploring in your paintings from 2023 involving pigeons
and fingers (that appear to be bleeding)? Why did you shift focus away from the face and
into other themes or motifs?
Although I primarily work on figures, I am interested in the ambiguity where both
negativity and positivity coexist. I believe pigeons, which are often seen in daily life, embody
this aspect as well. They are symbols of peace but also creatures that people in modern
society tend to avoid. Personally, I find pigeons cute and wanted to incorporate them into my
work.
7) Regarding your theory of self-defense mechanisms and psychological barriers that people
put up to protect themselves emotionally, what do you think about the idea of response or
counter in a verbal or psychological exchange? Do people simply put up thin barriers and/or
distances, or do they go to war and spar over topics and issues that reflect on their identities
and values? How do the psychological boundaries between people actually constitute
warzones or DMZs (like between North and South Korea), where one witnesses the
exchange of fire and artillery shells (metaphorically speaking)?
There are various types of defense mechanisms, such as denial, projection,
rationalization, and sublimation. These include both distancing and aggressive approaches.
My work is not based on a unique theory but rather on understanding that my own and
others’ behaviors are part of these defense mechanisms, which I visually express.
Therefore, depending on my work, it may sometimes feel violent or beautiful.
8) How will your work change in the future? What new directions, symbols, motifs,
narratives, and characters will you explore in your next works?
I don’t have a planned working style, so I haven’t decided how my work will change.
However, I plan to continue working on the ambiguity between negative and positive
emotions, or ambiguity regarding situations. Additionally, I want to visually experiment more.
I plan to explore more materials to evoke emotions in viewers through visual elements.
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