haiyoung suh

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	‹다시 불러낸 시간›
Recollecting the Moments
Leaflet Download ↓


	A Bunker, Seoul

2024. 11. 8. - 2024. 11. 29.


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	‹노드: 하나의 전체›
Node:&#38;nbsp;One and its Entirety
Brochure Download ↓

Unit Triangle ↗&#38;nbsp; &#38;nbsp;Unit Quadrangle ↗


	성곡미술관Sungkok Art Museum, Seoul

2023. 4. 20. - 2023. 6. 18.


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Floating Units 2022


Brochure Download ↓
	금고미술관Gallery SAFE, Seoul2022. 6. 27. - 2022. 7. 29.


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&#38;lt;남겨둔 가지&#38;gt;
Prolongement


Brochure Download ↓


갤러리 소소Gallery SoSo, Paju, Korea

2021. 6. 19. - 2021. 7. 18.


&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/dd25fce1f7d18d19702ac8d113489bb7942bdbb63542e467c02dae6b2b49906d/hys_work_exhibition_005.jpg" data-mid="131807290" border="0"  src="https://freight.cargo.site/w/1000/i/dd25fce1f7d18d19702ac8d113489bb7942bdbb63542e467c02dae6b2b49906d/hys_work_exhibition_005.jpg" /&#62;
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&#60;img width="2000" height="1429" width_o="2000" height_o="1429" data-src="https://freight.cargo.site/t/original/i/fb8c20f2633ca35b56bbc3775250bb3d24fbe2c522c63198ec2693e121ef5a5c/hys_work_exhibition_011.jpg" data-mid="131807319" border="0" data-scale="85" src="https://freight.cargo.site/w/1000/i/fb8c20f2633ca35b56bbc3775250bb3d24fbe2c522c63198ec2693e121ef5a5c/hys_work_exhibition_011.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/ba4d1811568da3cb3a2a074982fb97a70b6dad2a1f02db4c9845298e36dd059d/hys_work_exhibition_002.jpg" data-mid="131807322" border="0"  src="https://freight.cargo.site/w/1000/i/ba4d1811568da3cb3a2a074982fb97a70b6dad2a1f02db4c9845298e36dd059d/hys_work_exhibition_002.jpg" /&#62;


‹예술과 에너지 – 에너지 교류기와 저장소›
Art &#38;amp; Energy
	

전북도립미술관
Jeonbuk Museum of Art, Wanju, Korea2020. 10. 16. - 2021. 1. 24.


&#60;img width="3891" height="2830" width_o="3891" height_o="2830" data-src="https://freight.cargo.site/t/original/i/5f0080511a10925403b79ab731fe8146cee3ec7d2342684d0b9dccfc9c07cf8f/KakaoTalk_20211214_173412905.jpg" data-mid="150340160" border="0" data-scale="80" src="https://freight.cargo.site/w/1000/i/5f0080511a10925403b79ab731fe8146cee3ec7d2342684d0b9dccfc9c07cf8f/KakaoTalk_20211214_173412905.jpg" /&#62;
&#60;img width="1600" height="2000" width_o="1600" height_o="2000" data-src="https://freight.cargo.site/t/original/i/108837f58a5f685d7a8a39ddde9a62f46d9316265562eb1ada81f359edfe01f4/hys_work_exhibition_023.JPG" data-mid="131808029" border="0"  src="https://freight.cargo.site/w/1000/i/108837f58a5f685d7a8a39ddde9a62f46d9316265562eb1ada81f359edfe01f4/hys_work_exhibition_023.JPG" /&#62;


Isola Project 3


상업화랑
Sahngup Gallery, Seoul2020. 2. 28. - 2021. 4. 19.

&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/26597462bb00900a691438f0207e3600b180d16217b1e63c62854c77d2535d33/hys_work_exhibition_024.jpg" data-mid="131812362" border="0"  src="https://freight.cargo.site/w/1000/i/26597462bb00900a691438f0207e3600b180d16217b1e63c62854c77d2535d33/hys_work_exhibition_024.jpg" /&#62;
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&#60;img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f5a8a678a2309ffbd8da52e2d7142eb1b14d0732b300196e0e30c46856fad713/hys_work_exhibition_027.jpg" data-mid="131812400" border="0"  src="https://freight.cargo.site/w/1000/i/f5a8a678a2309ffbd8da52e2d7142eb1b14d0732b300196e0e30c46856fad713/hys_work_exhibition_027.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/2a32cb8d99b71c9250a2b0ddc0f7dbe2504256ec2f9dbc024381b44e3290684e/hys_work_exhibition_031.jpg" data-mid="131812405" border="0"  src="https://freight.cargo.site/w/1000/i/2a32cb8d99b71c9250a2b0ddc0f7dbe2504256ec2f9dbc024381b44e3290684e/hys_work_exhibition_031.jpg" /&#62;


‹놀이가 미술이 될 때›
When play becomes art


광주시립미술관
Gwangju Museum of Art, Gwangju, Korea2020. 2. 28. - 2020. 7. 26.

&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/407c84a9a143ca241cd6c9c0391e82fbb9084607926e03edeadb53ddfda702ef/hys_work_exhibition_035.jpg" data-mid="131812706" border="0"  src="https://freight.cargo.site/w/1000/i/407c84a9a143ca241cd6c9c0391e82fbb9084607926e03edeadb53ddfda702ef/hys_work_exhibition_035.jpg" /&#62;
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&#60;img width="2000" height="1287" width_o="2000" height_o="1287" data-src="https://freight.cargo.site/t/original/i/48970e0768c946d29991292165915b4147230082b5a654a58ed1e0d795338d97/hys_work_exhibition_037.jpg" data-mid="131812708" border="0"  src="https://freight.cargo.site/w/1000/i/48970e0768c946d29991292165915b4147230082b5a654a58ed1e0d795338d97/hys_work_exhibition_037.jpg" /&#62;


‹DMZ 평화 정거장›
DMZ Peace Platform


Brochure Download ↓


캠프 그리브스
Camp Greaves, Paju, Korea


2019. 9. 2. – 2020. 8. 31.


&#60;img width="2000" height="1100" width_o="2000" height_o="1100" data-src="https://freight.cargo.site/t/original/i/c198b9dccd9fd4b38430ccd82c8f2d45e176586b0b17452acbeb9eff5926d180/hys_work_exhibition_041.jpg" data-mid="131812998" border="0"  src="https://freight.cargo.site/w/1000/i/c198b9dccd9fd4b38430ccd82c8f2d45e176586b0b17452acbeb9eff5926d180/hys_work_exhibition_041.jpg" /&#62;
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&#60;img width="2000" height="1232" width_o="2000" height_o="1232" data-src="https://freight.cargo.site/t/original/i/8fae88f40ab52723425f209e72dbc3833ec69327cf359ce2c6594e434c550841/hys_work_exhibition_040.jpg" data-mid="131812997" border="0"  src="https://freight.cargo.site/w/1000/i/8fae88f40ab52723425f209e72dbc3833ec69327cf359ce2c6594e434c550841/hys_work_exhibition_040.jpg" /&#62;
&#60;img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/88460e942c45f1026df3dc813fed29234723981156d776e5b525d772e2e124f4/hys_work_exhibition_038.jpg" data-mid="131813125" border="0"  src="https://freight.cargo.site/w/1000/i/88460e942c45f1026df3dc813fed29234723981156d776e5b525d772e2e124f4/hys_work_exhibition_038.jpg" /&#62;


‹보이지 않는 것을 공기 중에 배열하는 기술›
The Art of Arranging the Invisible in the Air


Brochure Download ↓


	일우 스페이스
Ilwoo space, Seoul


2018. 1. 4. – 2018. 2. 13.

&#60;img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/ee4fecb98626d266b8e60f4156856594278fe3397793d83bc744f8b9a8487e05/hys_work_exhibition_045.jpg" data-mid="131814366" border="0"  src="https://freight.cargo.site/w/1000/i/ee4fecb98626d266b8e60f4156856594278fe3397793d83bc744f8b9a8487e05/hys_work_exhibition_045.jpg" /&#62;
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&#60;img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/33a11dd307082e51fc34e3ce76f2d49ca71bcc6d120fce4617cb194cdc3510e6/hys_work_exhibition_047.jpg" data-mid="131814368" border="0"  src="https://freight.cargo.site/w/1000/i/33a11dd307082e51fc34e3ce76f2d49ca71bcc6d120fce4617cb194cdc3510e6/hys_work_exhibition_047.jpg" /&#62;
&#60;img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/aaad71846b3ff009bb5a54c0cba997e402292b812b32069d9a16729695505e80/hys_work_exhibition_048.jpg" data-mid="131814369" border="0"  src="https://freight.cargo.site/w/1000/i/aaad71846b3ff009bb5a54c0cba997e402292b812b32069d9a16729695505e80/hys_work_exhibition_048.jpg" /&#62;


	Isola Project 2


Brochure Download ↓


	Research &#38;amp; Art Gallery, KAIST 경영대학


Research &#38;amp; Art Gallery, KAIST College of Business, Seoul


2017. 12. 19. – 2018. 2. 18.

&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/b80b6df859e8fcaeffab7ded510d8b51db227d31a0d3276a1038fa21770c474c/hys_work_exhibition_075.jpg" data-mid="131814670" border="0"  src="https://freight.cargo.site/w/1000/i/b80b6df859e8fcaeffab7ded510d8b51db227d31a0d3276a1038fa21770c474c/hys_work_exhibition_075.jpg" /&#62;
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&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/88645186031e2dd0ed6190cccdb97729620056f638b6b4912c3114a8e3da5593/hys_work_exhibition_077.jpg" data-mid="131814672" border="0"  src="https://freight.cargo.site/w/1000/i/88645186031e2dd0ed6190cccdb97729620056f638b6b4912c3114a8e3da5593/hys_work_exhibition_077.jpg" /&#62;


‹온도의 환기 - 네 개의 방›
Temperature Stirring

	
화이트 블럭 아트 센터


White Block Art Center, Paju, Korea


2017. 11. 18. – 2018. 2. 25.

&#60;img width="5082" height="3388" width_o="5082" height_o="3388" data-src="https://freight.cargo.site/t/original/i/a7f4079aca607f00fc2658233eb9c43ad671e25411f1b8c0c9e88ebcbf850baf/hys_work_exhibition_053.jpg" data-mid="131814437" border="0"  src="https://freight.cargo.site/w/1000/i/a7f4079aca607f00fc2658233eb9c43ad671e25411f1b8c0c9e88ebcbf850baf/hys_work_exhibition_053.jpg" /&#62;
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&#60;img width="5109" height="3255" width_o="5109" height_o="3255" data-src="https://freight.cargo.site/t/original/i/59d917a7eb4aa0220c37a5172264529e42ef0846f277faf20928ad67b8c2e053/hys_work_exhibition_057.jpg" data-mid="131814441" border="0"  src="https://freight.cargo.site/w/1000/i/59d917a7eb4aa0220c37a5172264529e42ef0846f277faf20928ad67b8c2e053/hys_work_exhibition_057.jpg" /&#62;
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&#60;img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/41d6d3d1df1d55833079e6f0093dcf9e86bfb0455dad3844ea15e8baba2efef1/hys_work_exhibition_054.jpg" data-mid="131814438" border="0"  src="https://freight.cargo.site/w/1000/i/41d6d3d1df1d55833079e6f0093dcf9e86bfb0455dad3844ea15e8baba2efef1/hys_work_exhibition_054.jpg" /&#62;
&#60;img width="1305" height="2000" width_o="1305" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f1f49961481ffde74472bc7c233afe171430d667b15cfffa50a6df14cb1cd02c/hys_work_exhibition_049.jpg" data-mid="131814433" border="0"  src="https://freight.cargo.site/w/1000/i/f1f49961481ffde74472bc7c233afe171430d667b15cfffa50a6df14cb1cd02c/hys_work_exhibition_049.jpg" /&#62;


‹하나의 전체 - 긴밀한 경계›
	

One and its entirety - Tight perimeters


Brochure Download ↓


갤러리 소소

Gallery SoSo, Paju, Korea


2016. 4. 16. – 2016. 5. 15.

&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/1b65ad0349181cd359b471f47aa8ae44baaf979b3c8104e4868132aba4215fac/hys_work_exhibition_059.jpg" data-mid="131814581" border="0"  src="https://freight.cargo.site/w/1000/i/1b65ad0349181cd359b471f47aa8ae44baaf979b3c8104e4868132aba4215fac/hys_work_exhibition_059.jpg" /&#62;
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&#60;img width="2048" height="1366" width_o="2048" height_o="1366" data-src="https://freight.cargo.site/t/original/i/8527a10e0446586022b6bd6e64d62c85d84a9e8b0801237e8c88badf308ee6e5/hys_work_exhibition_070.jpg" data-mid="131814591" border="0"  src="https://freight.cargo.site/w/1000/i/8527a10e0446586022b6bd6e64d62c85d84a9e8b0801237e8c88badf308ee6e5/hys_work_exhibition_070.jpg" /&#62;
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&#60;img width="2048" height="1366" width_o="2048" height_o="1366" data-src="https://freight.cargo.site/t/original/i/8e0974bc2aaf70de3764ce07056101802e7af62a3d2a6bbffeb904dae9e149e8/hys_work_exhibition_072.jpg" data-mid="131814593" border="0"  src="https://freight.cargo.site/w/1000/i/8e0974bc2aaf70de3764ce07056101802e7af62a3d2a6bbffeb904dae9e149e8/hys_work_exhibition_072.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/08411043f7636259fdb2168ce3e6341811247ce701f725f483a0851dd6fb311c/hys_work_exhibition_073.jpg" data-mid="131814594" border="0"  src="https://freight.cargo.site/w/1000/i/08411043f7636259fdb2168ce3e6341811247ce701f725f483a0851dd6fb311c/hys_work_exhibition_073.jpg" /&#62;


	‹하나의 전체 - 가능성 있는 모든 결합› 트러프 프로젝트 5
Ein einziges Ganzes – in allen Kombinationen, 
Trough Project 5
Brochure Download ↓


주한 독일문화원
Goethe-Institut, Seoul


2015. 1. 20. – 2015. 6. 20.
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/56c74e468c92fbc7b144373f0e067fa658ea4c9828da8364dfb1b5ca00b810ec/hys_work_exhibition_078.jpg" data-mid="131814766" border="0"  src="https://freight.cargo.site/w/1000/i/56c74e468c92fbc7b144373f0e067fa658ea4c9828da8364dfb1b5ca00b810ec/hys_work_exhibition_078.jpg" /&#62;
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&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/62073a43eddf4fd900fce695934abb2114107b3a9bda53e32945eb270aee2c1c/hys_work_exhibition_086.jpg" data-mid="131814773" border="0"  src="https://freight.cargo.site/w/1000/i/62073a43eddf4fd900fce695934abb2114107b3a9bda53e32945eb270aee2c1c/hys_work_exhibition_086.jpg" /&#62;


‹사물(私物)의 공간›
Isola Project 1
	

갤러리 조선
Gallery Chosun, Seoul


2014. 2. 12. – 2014. 3. 5.
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‹놀이 시작›
	

Art &#38;amp; Play

	
예술의 전당, 한가람미술관
Seoul Arts Center, Seoul


2013. 7. 26. – 2013. 8. 25.
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&#60;img width="2000" height="1127" width_o="2000" height_o="1127" data-src="https://freight.cargo.site/t/original/i/708c735094b6ba5c4294cd7f8ec9edb70c0345238a75fa55f07c6dc98f5f4ac6/hys_work_installation_083.jpg" data-mid="131814950" border="0"  src="https://freight.cargo.site/w/1000/i/708c735094b6ba5c4294cd7f8ec9edb70c0345238a75fa55f07c6dc98f5f4ac6/hys_work_installation_083.jpg" /&#62;
&#60;img width="2000" height="1127" width_o="2000" height_o="1127" data-src="https://freight.cargo.site/t/original/i/d69736a66184185d8bea88233051b6d2d24d56b45d0f67b1d0e801550d727b6f/hys_work_installation_084.jpg" data-mid="131814951" border="0"  src="https://freight.cargo.site/w/1000/i/d69736a66184185d8bea88233051b6d2d24d56b45d0f67b1d0e801550d727b6f/hys_work_installation_084.jpg" /&#62;
&#60;img width="2000" height="1127" width_o="2000" height_o="1127" data-src="https://freight.cargo.site/t/original/i/4ae8bd29f642bd69cbe3551839954ad63c8660c4a9301ff252922403b1534a30/hys_work_installation_085.jpg" data-mid="131814952" border="0"  src="https://freight.cargo.site/w/1000/i/4ae8bd29f642bd69cbe3551839954ad63c8660c4a9301ff252922403b1534a30/hys_work_installation_085.jpg" /&#62;


‹내각 內角›
Internal Angle
	

갤러리 소소

Gallery SoSo, Paju, Korea


2011. 6. 17. – 2011. 7. 17.
&#60;img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/7d2e71f0919b07c833825c495b7418a04b0db52aa64c62a2ceacb0cbedbd5820/hys_work_exhibition_087.jpg" data-mid="131815012" border="0"  src="https://freight.cargo.site/w/1000/i/7d2e71f0919b07c833825c495b7418a04b0db52aa64c62a2ceacb0cbedbd5820/hys_work_exhibition_087.jpg" /&#62;
&#60;img width="1125" height="2000" width_o="1125" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2f2d2866c2d9e2fcb4f4b2ad10d67bdfb9892e53d3d69cab4b2000ca06684a2a/hys_work_exhibition_088.jpg" data-mid="131815013" border="0"  src="https://freight.cargo.site/w/1000/i/2f2d2866c2d9e2fcb4f4b2ad10d67bdfb9892e53d3d69cab4b2000ca06684a2a/hys_work_exhibition_088.jpg" /&#62;
&#60;img width="1125" height="2000" width_o="1125" height_o="2000" data-src="https://freight.cargo.site/t/original/i/eefd5693d6244c5ced4a718e1414c1d4fd9f93ebd64748dda983929e73ce6159/hys_work_exhibition_089.jpg" data-mid="131815014" border="0"  src="https://freight.cargo.site/w/1000/i/eefd5693d6244c5ced4a718e1414c1d4fd9f93ebd64748dda983929e73ce6159/hys_work_exhibition_089.jpg" /&#62;
&#60;img width="1125" height="2000" width_o="1125" height_o="2000" data-src="https://freight.cargo.site/t/original/i/5db0129a00002209058c9efb4416b02d92379c698bda4fdbed095a0e42958bea/hys_work_exhibition_090.jpg" data-mid="131815015" border="0"  src="https://freight.cargo.site/w/1000/i/5db0129a00002209058c9efb4416b02d92379c698bda4fdbed095a0e42958bea/hys_work_exhibition_090.jpg" /&#62;


‹막 幕›
Curtain
	

갤러리 소소


Gallery SoSo, Paju, Korea


2010. 5. 14. – 2010. 6. 13.

&#60;img width="2000" height="1583" width_o="2000" height_o="1583" data-src="https://freight.cargo.site/t/original/i/b36424ee9bb013f0a8e60fd14748f898bf153fe521b886fce327696eec4537d3/hys_work_exhibition_091.jpg" data-mid="131815040" border="0"  src="https://freight.cargo.site/w/1000/i/b36424ee9bb013f0a8e60fd14748f898bf153fe521b886fce327696eec4537d3/hys_work_exhibition_091.jpg" /&#62;
&#60;img width="2000" height="1572" width_o="2000" height_o="1572" data-src="https://freight.cargo.site/t/original/i/fe300f3b523505cf08fda603f6a8f285216ede10fa967a32d8d68669f7333f0f/hys_work_exhibition_092.jpg" data-mid="131815041" border="0"  src="https://freight.cargo.site/w/1000/i/fe300f3b523505cf08fda603f6a8f285216ede10fa967a32d8d68669f7333f0f/hys_work_exhibition_092.jpg" /&#62;
&#60;img width="2000" height="739" width_o="2000" height_o="739" data-src="https://freight.cargo.site/t/original/i/7e0ea867a40eac8b26bf214e139660a95ad4d3124623dcdc86e88d8181896a45/hys_work_exhibition_093.jpg" data-mid="131815042" border="0"  src="https://freight.cargo.site/w/1000/i/7e0ea867a40eac8b26bf214e139660a95ad4d3124623dcdc86e88d8181896a45/hys_work_exhibition_093.jpg" /&#62;


‹벽돌, 한국 근대를 열다›
Brick Opens Korean Modern Architecture
	

클레이아크 김해미술관

Clayarch Gimhae Museum, Gimhae, Korea


2010. 4. 24. – 2010. 8. 15.

&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/4e9119c9d76e0988b252fbf77131d2522818abb629afd6b5c849a2b57c0d7aea/hys_work_exhibition_094.jpg" data-mid="131815169" border="0"  src="https://freight.cargo.site/w/1000/i/4e9119c9d76e0988b252fbf77131d2522818abb629afd6b5c849a2b57c0d7aea/hys_work_exhibition_094.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/08a7d80d89db969ce233010c68f60e38b76618f4d0bab096eb2537692c96dfcd/hys_work_exhibition_095.jpg" data-mid="131815170" border="0"  src="https://freight.cargo.site/w/1000/i/08a7d80d89db969ce233010c68f60e38b76618f4d0bab096eb2537692c96dfcd/hys_work_exhibition_095.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/8cdca347273bc8b81713b1b49cf4abca449dcde05144b84d7d6fdd1e3b4a6fbd/hys_work_exhibition_096.jpg" data-mid="131815172" border="0"  src="https://freight.cargo.site/w/1000/i/8cdca347273bc8b81713b1b49cf4abca449dcde05144b84d7d6fdd1e3b4a6fbd/hys_work_exhibition_096.jpg" /&#62;


	Still Room

	
금호미술관

Kumho Museum of Art, Seoul


2007. 11. 22. – 2007. 12. 16.


&#60;img width="2000" height="1183" width_o="2000" height_o="1183" data-src="https://freight.cargo.site/t/original/i/d29c3f1b2c7d99e70de7ca906d1a3eecc54f71676404eb2e155a64a967bdb371/hys_work_exhibition_097.jpg" data-mid="131815243" border="0"  src="https://freight.cargo.site/w/1000/i/d29c3f1b2c7d99e70de7ca906d1a3eecc54f71676404eb2e155a64a967bdb371/hys_work_exhibition_097.jpg" /&#62;
&#60;img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/b5747d728c6f3e16ebc23e0286f4bedeaf07b88824077ab8b142b98d6674fb05/hys_work_exhibition_098.jpg" data-mid="131815244" border="0"  src="https://freight.cargo.site/w/1000/i/b5747d728c6f3e16ebc23e0286f4bedeaf07b88824077ab8b142b98d6674fb05/hys_work_exhibition_098.jpg" /&#62;
&#60;img width="2000" height="1087" width_o="2000" height_o="1087" data-src="https://freight.cargo.site/t/original/i/8de1925ac2f7eb119960117954ebc022145a780bf2beb7b00551c1d1eb35bedf/hys_work_exhibition_099.jpg" data-mid="131815245" border="0"  src="https://freight.cargo.site/w/1000/i/8de1925ac2f7eb119960117954ebc022145a780bf2beb7b00551c1d1eb35bedf/hys_work_exhibition_099.jpg" /&#62;
&#60;img width="2000" height="1629" width_o="2000" height_o="1629" data-src="https://freight.cargo.site/t/original/i/4f0e3e3fb06de604722ec5f16eab4142befe9dec82735ba44c938d7008c742c8/hys_work_exhibition_100.jpg" data-mid="131815246" border="0"  src="https://freight.cargo.site/w/1000/i/4f0e3e3fb06de604722ec5f16eab4142befe9dec82735ba44c938d7008c742c8/hys_work_exhibition_100.jpg" /&#62;
&#60;img width="2000" height="1487" width_o="2000" height_o="1487" data-src="https://freight.cargo.site/t/original/i/82edb5ac2fdd5c136f4188193ae3535b71655f74da6052cf4a2c859791f58336/hys_work_exhibition_102.jpg" data-mid="131815248" border="0"  src="https://freight.cargo.site/w/1000/i/82edb5ac2fdd5c136f4188193ae3535b71655f74da6052cf4a2c859791f58336/hys_work_exhibition_102.jpg" /&#62;
&#60;img width="2000" height="1342" width_o="2000" height_o="1342" data-src="https://freight.cargo.site/t/original/i/ee10181f14d440ffb008bf326041f262951f48b8b2f7c0c13121259db6d0baec/hys_work_exhibition_105.jpg" data-mid="131815251" border="0"  src="https://freight.cargo.site/w/1000/i/ee10181f14d440ffb008bf326041f262951f48b8b2f7c0c13121259db6d0baec/hys_work_exhibition_105.jpg" /&#62;
&#60;img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/7afd0f0a53e0c8908f995f377867e99363185edea5758a0efb1cf897a53e9196/hys_work_exhibition_103.jpg" data-mid="131815249" border="0"  src="https://freight.cargo.site/w/1000/i/7afd0f0a53e0c8908f995f377867e99363185edea5758a0efb1cf897a53e9196/hys_work_exhibition_103.jpg" /&#62;
&#60;img width="1334" height="2000" width_o="1334" height_o="2000" data-src="https://freight.cargo.site/t/original/i/85652b58d5285e662688af2854372296daf8a3226397b386197ee5dca34d0d92/hys_work_exhibition_104.jpg" data-mid="131815250" border="0"  src="https://freight.cargo.site/w/1000/i/85652b58d5285e662688af2854372296daf8a3226397b386197ee5dca34d0d92/hys_work_exhibition_104.jpg" /&#62;
&#60;img width="1543" height="2000" width_o="1543" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b614ce00f1e1b48df366df3d5fd27ed474eb553f32c3f4d0c5d427cb08481b25/hys_work_exhibition_101.jpg" data-mid="131815247" border="0"  src="https://freight.cargo.site/w/1000/i/b614ce00f1e1b48df366df3d5fd27ed474eb553f32c3f4d0c5d427cb08481b25/hys_work_exhibition_101.jpg" /&#62;
&#60;img width="1538" height="2000" width_o="1538" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a5184ee040c6413a13bcd37e6b9e2064fed812e26cbccd5026f092767c7ff064/hys_work_exhibition_106.jpg" data-mid="131815252" border="0"  src="https://freight.cargo.site/w/1000/i/a5184ee040c6413a13bcd37e6b9e2064fed812e26cbccd5026f092767c7ff064/hys_work_exhibition_106.jpg" /&#62;


‹집의 숨 · 집의 결›
The Breath of House
	영암도기박물관


Yeongam Pottery Museum, Yeongam, Korea

2004. 4. 3. – 2004. 10. 29.

&#60;img width="1075" height="1352" width_o="1075" height_o="1352" data-src="https://freight.cargo.site/t/original/i/701160c969d63d1a371b7eaa040d297d7d323ef4474ff6cf3517eceb2d83de35/hys_work_exhibition_110.jpg" data-mid="131815381" border="0"  src="https://freight.cargo.site/w/1000/i/701160c969d63d1a371b7eaa040d297d7d323ef4474ff6cf3517eceb2d83de35/hys_work_exhibition_110.jpg" /&#62;
&#60;img width="1352" height="1074" width_o="1352" height_o="1074" data-src="https://freight.cargo.site/t/original/i/da3c08ff814f030adfa028c142e06350d458430c638c60baedfbac7c734223fc/hys_work_exhibition_109.jpg" data-mid="131815380" border="0"  src="https://freight.cargo.site/w/1000/i/da3c08ff814f030adfa028c142e06350d458430c638c60baedfbac7c734223fc/hys_work_exhibition_109.jpg" /&#62;
&#60;img width="1352" height="1074" width_o="1352" height_o="1074" data-src="https://freight.cargo.site/t/original/i/0aff31c33e05a0c71bc4a771ccc705f91c1372ed9b217283c8f4403a0fd3b531/hys_work_exhibition_111.jpg" data-mid="131815382" border="0"  src="https://freight.cargo.site/w/1000/i/0aff31c33e05a0c71bc4a771ccc705f91c1372ed9b217283c8f4403a0fd3b531/hys_work_exhibition_111.jpg" /&#62;
&#60;img width="1075" height="1352" width_o="1075" height_o="1352" data-src="https://freight.cargo.site/t/original/i/9bc209484cdbaf60c4bc79f4140df7872bd264ad725549c507112d4460c585d0/hys_work_exhibition_112.jpg" data-mid="131815383" border="0"  src="https://freight.cargo.site/w/1000/i/9bc209484cdbaf60c4bc79f4140df7872bd264ad725549c507112d4460c585d0/hys_work_exhibition_112.jpg" /&#62;


	Wall Works
	

카이스갤러리

CAIS Gallery, Seoul


2004. 3. 11. – 2004. 4. 24.
&#60;img width="2000" height="1570" width_o="2000" height_o="1570" data-src="https://freight.cargo.site/t/original/i/21e7817683561d2373ab608eab956b637dfff5d0fbb4ac62209a369d2c5ec3fc/hys_work_exhibition_107.jpg" data-mid="131815323" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/21e7817683561d2373ab608eab956b637dfff5d0fbb4ac62209a369d2c5ec3fc/hys_work_exhibition_107.jpg" /&#62;
&#60;img width="1589" height="2000" width_o="1589" height_o="2000" data-src="https://freight.cargo.site/t/original/i/494be218cde47fc638d6efeb0d88ac05a43a871d2337583d3ad9b49c2c7799ae/hys_work_exhibition_108.jpg" data-mid="131815324" border="0" data-scale="60" src="https://freight.cargo.site/w/1000/i/494be218cde47fc638d6efeb0d88ac05a43a871d2337583d3ad9b49c2c7799ae/hys_work_exhibition_108.jpg" /&#62;


‹유비쿼터스›
Ubiquitous
	

갤러리 인

Gallery IHN, Seoul


2003. 12. 5. – 2003. 12. 19.


&#60;img width="1400" height="1093" width_o="1400" height_o="1093" data-src="https://freight.cargo.site/t/original/i/b2f98c37a701dec0325de051c8f7c83b4a3676cd551f69501dd5fb87b99e6c35/hys_work_exhibition_118.jpg" data-mid="131815414" border="0" data-scale="78" src="https://freight.cargo.site/w/1000/i/b2f98c37a701dec0325de051c8f7c83b4a3676cd551f69501dd5fb87b99e6c35/hys_work_exhibition_118.jpg" /&#62;
&#60;img width="1200" height="1329" width_o="1200" height_o="1329" data-src="https://freight.cargo.site/t/original/i/a4dd1d7a56bfcfa97b2209b0ad4e7ffc64129d113797c5c75bb689223fd4c51a/hys_work_exhibition_116.jpg" data-mid="131815412" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/a4dd1d7a56bfcfa97b2209b0ad4e7ffc64129d113797c5c75bb689223fd4c51a/hys_work_exhibition_116.jpg" /&#62;
&#60;img width="2266" height="741" width_o="2266" height_o="741" data-src="https://freight.cargo.site/t/original/i/9c53b85626f99ee0e694a10c217d0713475dc529479ccceb0ab84d545349de1e/hys_work_exhibition_120.jpg" data-mid="131815416" border="0"  src="https://freight.cargo.site/w/1000/i/9c53b85626f99ee0e694a10c217d0713475dc529479ccceb0ab84d545349de1e/hys_work_exhibition_120.jpg" /&#62;
&#60;img width="1100" height="1425" width_o="1100" height_o="1425" data-src="https://freight.cargo.site/t/original/i/52e4569c075bb77a71cfde4e4ec3318287463c446220cf6ca56dd06fe61c2003/hys_work_exhibition_119.jpg" data-mid="131815415" border="0" data-scale="51" src="https://freight.cargo.site/w/1000/i/52e4569c075bb77a71cfde4e4ec3318287463c446220cf6ca56dd06fe61c2003/hys_work_exhibition_119.jpg" /&#62;
&#60;img width="1506" height="1000" width_o="1506" height_o="1000" data-src="https://freight.cargo.site/t/original/i/d965b4047fde382b859e66f2a89e035422df0d4ccc4d48fb9ed513af098709c9/hys_work_exhibition_117.jpg" data-mid="131815413" border="0"  src="https://freight.cargo.site/w/1000/i/d965b4047fde382b859e66f2a89e035422df0d4ccc4d48fb9ed513af098709c9/hys_work_exhibition_117.jpg" /&#62;
&#60;img width="1415" height="1000" width_o="1415" height_o="1000" data-src="https://freight.cargo.site/t/original/i/387043b178497fd8fcc8c2ebe73f7ac6b9b51a055e7b83344df33f8242de6997/hys_work_exhibition_115.jpg" data-mid="131815411" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/387043b178497fd8fcc8c2ebe73f7ac6b9b51a055e7b83344df33f8242de6997/hys_work_exhibition_115.jpg" /&#62;
&#60;img width="1496" height="1000" width_o="1496" height_o="1000" data-src="https://freight.cargo.site/t/original/i/1027822f07339d42817716bc1a2506bdfa4e22d364f6e7c4aba15e10dc2c79d2/hys_work_exhibition_114.jpg" data-mid="131815410" border="0"  src="https://freight.cargo.site/w/1000/i/1027822f07339d42817716bc1a2506bdfa4e22d364f6e7c4aba15e10dc2c79d2/hys_work_exhibition_114.jpg" /&#62;
&#60;img width="1423" height="1000" width_o="1423" height_o="1000" data-src="https://freight.cargo.site/t/original/i/9c26fa45af01aa383c828683ea63752ec3c19350e9af70cf8e936a7648bbb1ac/hys_work_exhibition_113.jpg" data-mid="131815409" border="0" data-scale="77" src="https://freight.cargo.site/w/1000/i/9c26fa45af01aa383c828683ea63752ec3c19350e9af70cf8e936a7648bbb1ac/hys_work_exhibition_113.jpg" /&#62;
&#60;img width="696" height="549" width_o="696" height_o="549" data-src="https://freight.cargo.site/t/original/i/b57c67ea5856f7227f946603f167e893b42fcc4403adee5b86dd523f2510a6cd/hys_work_exhibition_123.jpg" data-mid="131815419" border="0"  src="https://freight.cargo.site/w/696/i/b57c67ea5856f7227f946603f167e893b42fcc4403adee5b86dd523f2510a6cd/hys_work_exhibition_123.jpg" /&#62;
&#60;img width="692" height="543" width_o="692" height_o="543" data-src="https://freight.cargo.site/t/original/i/cf2ec5ee43f2089406b29f229cb3d8e809c0375c79ae6241cee9b4949053aab7/hys_work_exhibition_121.jpg" data-mid="131815417" border="0"  src="https://freight.cargo.site/w/692/i/cf2ec5ee43f2089406b29f229cb3d8e809c0375c79ae6241cee9b4949053aab7/hys_work_exhibition_121.jpg" /&#62;
&#60;img width="700" height="543" width_o="700" height_o="543" data-src="https://freight.cargo.site/t/original/i/3c655c74494eabd46758ee9de6b88a0d6210b5e248e05986b8a2b5394fb533eb/hys_work_exhibition_122.jpg" data-mid="131815418" border="0"  src="https://freight.cargo.site/w/700/i/3c655c74494eabd46758ee9de6b88a0d6210b5e248e05986b8a2b5394fb533eb/hys_work_exhibition_122.jpg" /&#62;
&#60;img width="673" height="543" width_o="673" height_o="543" data-src="https://freight.cargo.site/t/original/i/a384410f4d12bd1f9a56cdee4b54cadf8994a053a4bcfc7ccdf1a21ff068a89e/hys_work_exhibition_124.jpg" data-mid="131815420" border="0"  src="https://freight.cargo.site/w/673/i/a384410f4d12bd1f9a56cdee4b54cadf8994a053a4bcfc7ccdf1a21ff068a89e/hys_work_exhibition_124.jpg" /&#62;


‹케미컬 아트전›
Chemical Art
	

갤러리 사간

Gallery Sagan, Seoul


2002. 11. 8. – 2002. 12. 1.

&#60;img width="1352" height="1074" width_o="1352" height_o="1074" data-src="https://freight.cargo.site/t/original/i/fadf5e278b7565445ea5a87fac42b87538227f80bc347c64800ad8b43df4815e/hys_work_exhibition_131.jpg" data-mid="131815593" border="0"  src="https://freight.cargo.site/w/1000/i/fadf5e278b7565445ea5a87fac42b87538227f80bc347c64800ad8b43df4815e/hys_work_exhibition_131.jpg" /&#62;
&#60;img width="1074" height="1352" width_o="1074" height_o="1352" data-src="https://freight.cargo.site/t/original/i/6f6ab2f9d0e71d2e6fa413df70c3d7973d1ff200cc831a26ee7f2aab05d2d26d/hys_work_exhibition_132.jpg" data-mid="131815594" border="0"  src="https://freight.cargo.site/w/1000/i/6f6ab2f9d0e71d2e6fa413df70c3d7973d1ff200cc831a26ee7f2aab05d2d26d/hys_work_exhibition_132.jpg" /&#62;


	Three Young Artists from Korea
	

미야케 디자인 스튜디오 갤러리, 도쿄

MDS Gallery – Miyake Design Studio,
Tokyo, Japan


2002. 6. 8. – 2002. 7. 13.

&#60;img width="2000" height="1310" width_o="2000" height_o="1310" data-src="https://freight.cargo.site/t/original/i/adff5aa1a08725a81d7b23ba7ce352fe3b8a971907c3ca0ff8f016cd4062451b/hys_work_exhibition_130.jpg" data-mid="131815568" border="0"  src="https://freight.cargo.site/w/1000/i/adff5aa1a08725a81d7b23ba7ce352fe3b8a971907c3ca0ff8f016cd4062451b/hys_work_exhibition_130.jpg" /&#62;
&#60;img width="2000" height="1336" width_o="2000" height_o="1336" data-src="https://freight.cargo.site/t/original/i/e562f1025dfb95e38ebcbc869947adbea97e569e3eff933f914b724190ec46f9/hys_work_exhibition_128.jpg" data-mid="131815569" border="0"  src="https://freight.cargo.site/w/1000/i/e562f1025dfb95e38ebcbc869947adbea97e569e3eff933f914b724190ec46f9/hys_work_exhibition_128.jpg" /&#62;
&#60;img width="2000" height="1472" width_o="2000" height_o="1472" data-src="https://freight.cargo.site/t/original/i/c39ce2fc5d24d789bf392661c5f638d5a8e0e3fdebe1b1d52503b99a55ebca77/hys_work_exhibition_129.jpg" data-mid="131815570" border="0" data-scale="90" src="https://freight.cargo.site/w/1000/i/c39ce2fc5d24d789bf392661c5f638d5a8e0e3fdebe1b1d52503b99a55ebca77/hys_work_exhibition_129.jpg" /&#62;


	Gold Brick III
	SADI 스페이스 갤러리, 삼성디자인교육원


SADI Space Gallery, Samsung Art &#38;amp; Design Institute, Seoul

2002. 3. 23. – 2002. 4. 25.
&#60;img width="1024" height="616" width_o="1024" height_o="616" data-src="https://freight.cargo.site/t/original/i/4ac990e39be5fc1de5a39d5b67139f0e84cbf3336b29648b0a4ae40791ed5fb6/hys_work_exhibition_125.jpg" data-mid="131815515" border="0"  src="https://freight.cargo.site/w/1000/i/4ac990e39be5fc1de5a39d5b67139f0e84cbf3336b29648b0a4ae40791ed5fb6/hys_work_exhibition_125.jpg" /&#62;
&#60;img width="1352" height="1074" width_o="1352" height_o="1074" data-src="https://freight.cargo.site/t/original/i/9752d28b8b5943808b42c700458e2d5655345af593f6a8b4acc0a0eccbf05a35/hys_work_exhibition_126.jpg" data-mid="131815516" border="0" data-scale="80" src="https://freight.cargo.site/w/1000/i/9752d28b8b5943808b42c700458e2d5655345af593f6a8b4acc0a0eccbf05a35/hys_work_exhibition_126.jpg" /&#62;
&#60;img width="1352" height="1074" width_o="1352" height_o="1074" data-src="https://freight.cargo.site/t/original/i/73303f496b1978383ac65e592a75f313d31944bdb86372ffb25b298b8b1a5e17/hys_work_exhibition_127.jpg" data-mid="131815517" border="0" data-scale="80" src="https://freight.cargo.site/w/1000/i/73303f496b1978383ac65e592a75f313d31944bdb86372ffb25b298b8b1a5e17/hys_work_exhibition_127.jpg" /&#62;


	‹Neo Painting, 한·미 젊은 회화전›
Neo Painting - Korea America Young Paintings

	
영은미술관

Youngeun Museum,&#38;nbsp;Gyeonggi-do, Korea


2002. 3. 21. – 2002. 4. 30.

&#60;img width="1074" height="1352" width_o="1074" height_o="1352" data-src="https://freight.cargo.site/t/original/i/729f9fc8d10a0d126cf3a7bcd95626dd8c66e7afd90142d571aa467f2d9a87de/hys_work_exhibition_133.jpg" data-mid="131815721" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/729f9fc8d10a0d126cf3a7bcd95626dd8c66e7afd90142d571aa467f2d9a87de/hys_work_exhibition_133.jpg" /&#62;
&#60;img width="1074" height="1352" width_o="1074" height_o="1352" data-src="https://freight.cargo.site/t/original/i/1a823490959743122dc2ca3ac83300f0ce824e8b52af7d75c40e26889308d5e7/hys_work_exhibition_134.jpg" data-mid="131815722" border="0"  src="https://freight.cargo.site/w/1000/i/1a823490959743122dc2ca3ac83300f0ce824e8b52af7d75c40e26889308d5e7/hys_work_exhibition_134.jpg" /&#62;


	The Brick

제21회 석남미술상 수상기념전


Exhibition for Suk Nam Art Prize


가나 인사아트센터

Gana Insa Art Center, Seoul


2002. 2. 20. – 2002. 3. 3.
&#60;img width="1034" height="325" width_o="1034" height_o="325" data-src="https://freight.cargo.site/t/original/i/a2ecb2ce5bf7543fcfddc2a729faded5e46241dc32d030882f1d94381394df87/hys_work_exhibition_135.jpg" data-mid="131815751" border="0"  src="https://freight.cargo.site/w/1000/i/a2ecb2ce5bf7543fcfddc2a729faded5e46241dc32d030882f1d94381394df87/hys_work_exhibition_135.jpg" /&#62;
&#60;img width="1353" height="1074" width_o="1353" height_o="1074" data-src="https://freight.cargo.site/t/original/i/99792c8cb5690fd8f61113dcb49bbe9d7047c239fa18018d60ee1a08b6d80ee2/hys_work_exhibition_136.jpg" data-mid="131815752" border="0" data-scale="90" src="https://freight.cargo.site/w/1000/i/99792c8cb5690fd8f61113dcb49bbe9d7047c239fa18018d60ee1a08b6d80ee2/hys_work_exhibition_136.jpg" /&#62;
&#60;img width="1353" height="1074" width_o="1353" height_o="1074" data-src="https://freight.cargo.site/t/original/i/7ba0b34a82afc0205a20172895a1383aa1472a9d9ac8edc7159997cc9fb37866/hys_work_exhibition_137.jpg" data-mid="131815753" border="0" data-scale="90" src="https://freight.cargo.site/w/1000/i/7ba0b34a82afc0205a20172895a1383aa1472a9d9ac8edc7159997cc9fb37866/hys_work_exhibition_137.jpg" /&#62;
&#60;img width="509" height="310" width_o="509" height_o="310" data-src="https://freight.cargo.site/t/original/i/8401fce94367889fbd3c021549c2c0ebea0527e8a52bfeefdce8fb72947c1dca/hys_work_exhibition_138.jpg" data-mid="131815754" border="0"  src="https://freight.cargo.site/w/509/i/8401fce94367889fbd3c021549c2c0ebea0527e8a52bfeefdce8fb72947c1dca/hys_work_exhibition_138.jpg" /&#62;
&#60;img width="698" height="547" width_o="698" height_o="547" data-src="https://freight.cargo.site/t/original/i/af05fd2f3f9348beaa32fc710cdd2a253bb29502867fedb90d2396298a5c7f7d/hys_work_exhibition_139.jpg" data-mid="131815755" border="0"  src="https://freight.cargo.site/w/698/i/af05fd2f3f9348beaa32fc710cdd2a253bb29502867fedb90d2396298a5c7f7d/hys_work_exhibition_139.jpg" /&#62;
&#60;img width="2007" height="668" width_o="2007" height_o="668" data-src="https://freight.cargo.site/t/original/i/4404e945e009ae7cfbd2503646a2ea0981a4566a69dc7f004a59680f5488d25f/hys_work_exhibition_140.jpg" data-mid="131815756" border="0"  src="https://freight.cargo.site/w/1000/i/4404e945e009ae7cfbd2503646a2ea0981a4566a69dc7f004a59680f5488d25f/hys_work_exhibition_140.jpg" /&#62;


	The Brick
	

토탈미술관

Total Museum of Art, Jangheung, Korea


2001. 10. 2. – 2001. 11. 20.


&#60;img width="693" height="543" width_o="693" height_o="543" data-src="https://freight.cargo.site/t/original/i/447feae1f3f9cf00e35fe585a483813183a8f6eacfa54342770a93bc1b9d7f80/hys_work_exhibition_148.jpg" data-mid="131815816" border="0"  src="https://freight.cargo.site/w/693/i/447feae1f3f9cf00e35fe585a483813183a8f6eacfa54342770a93bc1b9d7f80/hys_work_exhibition_148.jpg" /&#62;
&#60;img width="1352" height="1074" width_o="1352" height_o="1074" data-src="https://freight.cargo.site/t/original/i/85017ca6793c05b3cd21c29489a7233ee843d2f135f26c3e307a0abcef90fab5/hys_work_exhibition_147.jpg" data-mid="131815824" border="0"  src="https://freight.cargo.site/w/1000/i/85017ca6793c05b3cd21c29489a7233ee843d2f135f26c3e307a0abcef90fab5/hys_work_exhibition_147.jpg" /&#62;
&#60;img width="1352" height="1074" width_o="1352" height_o="1074" data-src="https://freight.cargo.site/t/original/i/3283b06d0be9bb54063d7fa86cbc5197ada2a0230484cb9d11a7b8c9062ce483/hys_work_exhibition_146.jpg" data-mid="131815823" border="0"  src="https://freight.cargo.site/w/1000/i/3283b06d0be9bb54063d7fa86cbc5197ada2a0230484cb9d11a7b8c9062ce483/hys_work_exhibition_146.jpg" /&#62;
&#60;img width="1352" height="1074" width_o="1352" height_o="1074" data-src="https://freight.cargo.site/t/original/i/75589f4fe4c16b6f2a89481630877f32012bd04a61d508bacebe816244ed61e0/hys_work_exhibition_143.jpg" data-mid="131815820" border="0"  src="https://freight.cargo.site/w/1000/i/75589f4fe4c16b6f2a89481630877f32012bd04a61d508bacebe816244ed61e0/hys_work_exhibition_143.jpg" /&#62;
&#60;img width="1353" height="1075" width_o="1353" height_o="1075" data-src="https://freight.cargo.site/t/original/i/d33e9d1ba1c04b9c529f1ae5720e0bc0c0cbf678560a2b28f30d33f8edc52d33/hys_work_exhibition_144.jpg" data-mid="131815821" border="0"  src="https://freight.cargo.site/w/1000/i/d33e9d1ba1c04b9c529f1ae5720e0bc0c0cbf678560a2b28f30d33f8edc52d33/hys_work_exhibition_144.jpg" /&#62;
&#60;img width="1352" height="1074" width_o="1352" height_o="1074" data-src="https://freight.cargo.site/t/original/i/b60a092b8a777413d067ce148be954f3cf4c1154a9fa2ca74d85225f685369ac/hys_work_exhibition_145.jpg" data-mid="131815822" border="0"  src="https://freight.cargo.site/w/1000/i/b60a092b8a777413d067ce148be954f3cf4c1154a9fa2ca74d85225f685369ac/hys_work_exhibition_145.jpg" /&#62;
&#60;img width="984" height="660" width_o="984" height_o="660" data-src="https://freight.cargo.site/t/original/i/77d9aba0a02277dc2175fa41ff27adbc9eeff93c40ffc85b2f7c238e6dd9d875/hys_work_exhibition_142.jpg" data-mid="131815819" border="0"  src="https://freight.cargo.site/w/984/i/77d9aba0a02277dc2175fa41ff27adbc9eeff93c40ffc85b2f7c238e6dd9d875/hys_work_exhibition_142.jpg" /&#62;


	Gold Brick
	

갤러리 현대, 윈도우 갤러리

Gallery Hyundai, Window Gallery, Seoul


2000. 9. 08. – 2000. 9. 28.
&#60;img width="1352" height="1075" width_o="1352" height_o="1075" data-src="https://freight.cargo.site/t/original/i/bb1a7bc987ed4810786d5d1612f66e21a1af6e349181162f476871668028a72b/hys_work_exhibition_156.jpg" data-mid="131815893" border="0"  src="https://freight.cargo.site/w/1000/i/bb1a7bc987ed4810786d5d1612f66e21a1af6e349181162f476871668028a72b/hys_work_exhibition_156.jpg" /&#62;
&#60;img width="1330" height="1037" width_o="1330" height_o="1037" data-src="https://freight.cargo.site/t/original/i/eab58be4e545e55e7a632f3f1f63a4433b8bbe3074de75a1beb7a94e5f94668e/hys_work_exhibition_157.jpg" data-mid="131815894" border="0"  src="https://freight.cargo.site/w/1000/i/eab58be4e545e55e7a632f3f1f63a4433b8bbe3074de75a1beb7a94e5f94668e/hys_work_exhibition_157.jpg" /&#62;
&#60;img width="2000" height="1258" width_o="2000" height_o="1258" data-src="https://freight.cargo.site/t/original/i/39a8744df37b5535420f09345ec25ba235eea8a9ff273039b3b03a43db968f51/hys_work_exhibition_158.jpg" data-mid="131815896" border="0"  src="https://freight.cargo.site/w/1000/i/39a8744df37b5535420f09345ec25ba235eea8a9ff273039b3b03a43db968f51/hys_work_exhibition_158.jpg" /&#62;


	The Room
	

갤러리 인

Gallery IHN, Seoul


2000. 1. 19. – 2000. 1. 28.

&#60;img width="613" height="616" width_o="613" height_o="616" data-src="https://freight.cargo.site/t/original/i/7881c3cfb6d11d6d5b2b812d78cc22684e4b7f4e125cbef9b30cec6dcc575ebc/hys_work_exhibition_149.jpg" data-mid="131815854" border="0"  src="https://freight.cargo.site/w/613/i/7881c3cfb6d11d6d5b2b812d78cc22684e4b7f4e125cbef9b30cec6dcc575ebc/hys_work_exhibition_149.jpg" /&#62;
&#60;img width="632" height="624" width_o="632" height_o="624" data-src="https://freight.cargo.site/t/original/i/6f5cbc2d26d55ad293f6bb1ee3af2de77a9d77192fdaf4fc3565f2adfffb7253/hys_work_exhibition_150.jpg" data-mid="131815855" border="0"  src="https://freight.cargo.site/w/632/i/6f5cbc2d26d55ad293f6bb1ee3af2de77a9d77192fdaf4fc3565f2adfffb7253/hys_work_exhibition_150.jpg" /&#62;
&#60;img width="556" height="545" width_o="556" height_o="545" data-src="https://freight.cargo.site/t/original/i/991a9f27f176c4d20e3e9e69ffb881608afa26d44d6025d3285161780c4b7080/hys_work_exhibition_151.jpg" data-mid="131815856" border="0"  src="https://freight.cargo.site/w/556/i/991a9f27f176c4d20e3e9e69ffb881608afa26d44d6025d3285161780c4b7080/hys_work_exhibition_151.jpg" /&#62;
&#60;img width="547" height="685" width_o="547" height_o="685" data-src="https://freight.cargo.site/t/original/i/fb590874c2dd15551694aecbc6519c9f2513d5abac97f8957ea550cd0be35180/hys_work_exhibition_152.jpg" data-mid="131815857" border="0"  src="https://freight.cargo.site/w/547/i/fb590874c2dd15551694aecbc6519c9f2513d5abac97f8957ea550cd0be35180/hys_work_exhibition_152.jpg" /&#62;
&#60;img width="626" height="565" width_o="626" height_o="565" data-src="https://freight.cargo.site/t/original/i/f5f28022ddbab66c3231970f7327f84cf5576a0e9e607bd39d2a66b4b7a36b72/hys_work_exhibition_153.jpg" data-mid="131815858" border="0"  src="https://freight.cargo.site/w/626/i/f5f28022ddbab66c3231970f7327f84cf5576a0e9e607bd39d2a66b4b7a36b72/hys_work_exhibition_153.jpg" /&#62;
&#60;img width="1977" height="2000" width_o="1977" height_o="2000" data-src="https://freight.cargo.site/t/original/i/4effd18f72f86e4e7261399dfa26ebfd3a6a92501ef93cb2f490975c5c174bff/hys_work_exhibition_154.jpg" data-mid="131815859" border="0"  src="https://freight.cargo.site/w/1000/i/4effd18f72f86e4e7261399dfa26ebfd3a6a92501ef93cb2f490975c5c174bff/hys_work_exhibition_154.jpg" /&#62;
&#60;img width="541" height="685" width_o="541" height_o="685" data-src="https://freight.cargo.site/t/original/i/50d0fb2b571f4272cd2b5db23a9d11e47d031c264009acd4f1c957f491c3398a/hys_work_exhibition_155.jpg" data-mid="131815860" border="0"  src="https://freight.cargo.site/w/541/i/50d0fb2b571f4272cd2b5db23a9d11e47d031c264009acd4f1c957f491c3398a/hys_work_exhibition_155.jpg" /&#62;


	The Bone
	

갤러리 보다

Gallery Boda, Seoul


1996. 12. 18. – 1996. 12. 24.

&#60;img width="299" height="320" width_o="299" height_o="320" data-src="https://freight.cargo.site/t/original/i/c19531d74c282931ff18733515bd33248dd161ea15b33b0342adc46eceed5834/hys_work_exhibition_159.jpg" data-mid="131815924" border="0"  src="https://freight.cargo.site/w/299/i/c19531d74c282931ff18733515bd33248dd161ea15b33b0342adc46eceed5834/hys_work_exhibition_159.jpg" /&#62;
&#60;img width="311" height="322" width_o="311" height_o="322" data-src="https://freight.cargo.site/t/original/i/b36de7abf535196e72bd88e0e87dbb4c9a97195baed43f51deed9d1400e9e7df/hys_work_exhibition_160.jpg" data-mid="131815925" border="0"  src="https://freight.cargo.site/w/311/i/b36de7abf535196e72bd88e0e87dbb4c9a97195baed43f51deed9d1400e9e7df/hys_work_exhibition_160.jpg" /&#62;
&#60;img width="309" height="314" width_o="309" height_o="314" data-src="https://freight.cargo.site/t/original/i/6986c7b0a48bfcc0e833a1f380f9c6e439397957d545d8bc57b3120d3b3ee073/hys_work_exhibition_161.jpg" data-mid="131815926" border="0"  src="https://freight.cargo.site/w/309/i/6986c7b0a48bfcc0e833a1f380f9c6e439397957d545d8bc57b3120d3b3ee073/hys_work_exhibition_161.jpg" /&#62;
&#60;img width="545" height="691" width_o="545" height_o="691" data-src="https://freight.cargo.site/t/original/i/f9467308cde46f1bed7d3cbf24a5b4a6b77ae2809a76d2e5c0192bff23a8f369/hys_work_exhibition_162.jpg" data-mid="131815927" border="0"  src="https://freight.cargo.site/w/545/i/f9467308cde46f1bed7d3cbf24a5b4a6b77ae2809a76d2e5c0192bff23a8f369/hys_work_exhibition_162.jpg" /&#62;
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&#60;img width="695" height="543" width_o="695" height_o="543" data-src="https://freight.cargo.site/t/original/i/98fc573f92df60b7e0d4d8073b3a76346149e5a5b1ec439d4c7e47c6df1d2d00/hys_work_exhibition_164.jpg" data-mid="131815921" border="0"  src="https://freight.cargo.site/w/695/i/98fc573f92df60b7e0d4d8073b3a76346149e5a5b1ec439d4c7e47c6df1d2d00/hys_work_exhibition_164.jpg" /&#62;
&#60;img width="689" height="543" width_o="689" height_o="543" data-src="https://freight.cargo.site/t/original/i/191bb8ab4c5dff9f7efb91e681947f59ff69bb95ff5f753a5ac1d67e4efaea94/hys_work_exhibition_165.jpg" data-mid="131815922" border="0"  src="https://freight.cargo.site/w/689/i/191bb8ab4c5dff9f7efb91e681947f59ff69bb95ff5f753a5ac1d67e4efaea94/hys_work_exhibition_165.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>project</title>
				
		<link>https://haiyoungsuh.kr/project</link>

		<pubDate>Sun, 24 Oct 2021 09:00:28 +0000</pubDate>

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	기표의 공간, 시간의 흔적Spaces for Signifiers, Traces of Time


	정현
미술비평가, 인하대학교
2023. 5.


	 “부유한 예술 후원자들과 뉴욕의 문화 엘리트 구성원들이 이상한 망이나 그물에 걸린 상태에서 그들이 할 수 있는 것을 시도하고 그림을 보기 위해 작품과 접속하는 동안, 많은 아이들은 전시장 중심부에서 결국 자신을 위한 공간을 조각합니다.” 1


유럽에서 이주한 초현실주의 작가들을 모아 미국 뉴욕에서 최초로 열린 초현실주의 단체전 First papers of Surrealism(1942)은무엇보다 마르셀 뒤샹의 전시 디자인으로 잘 알려져 있다. 뒤샹은긴 끈을 이용해 전시 공간 전체에 거미줄 같은 망을 설치하여 전시 감상이라는 부르주아적인 행위를 훼방했다. 이러한 적극적인 개입은 작품 중심의 관습적인 감상 문화를 비평적 실험의 대상으로 전복하는 기회였을 것이다. 이는 또한 유럽의 오랜 전통에서 탈주 하려는 의지를 내포하고 있는 듯도 하다. 이런 도발이 가능했던건, 아마도 초현실주의조차 양식화되어가는 현실을 뒤집고 싶었기 때문일 것이다. 초현실주의 회화는 무의식의 세계에서 부유하고자 했으나 기호와 상징은 어느새 회화의 문법으로 고정되어 가고 있었다. 따라서 뒤샹은 의도적으로 (관습적인) 감상이 제대로 이뤄질 수 없도록 그물처럼 공간을 엮어버렸다. 그러자 천진한 아이들이 그 안에서 그들만의 보이지 않는 공간을 창조하기 시작했다. 보이는 것과 보이지 않는 것, 주어진 것과 상상한 것, 물질과 비물질 사이의 틈새를 아이들은 본능적으로 발견하고 응용할 수 있기 때문이다.


시공간의 틈, 다공성


공간이란 무엇인가? 공간은 동일하지도 단일하지도 않다. 공간은 우주의 탄생과 이어져 있으며 시간과 결합하여 생성 ․ 소멸 ․ 순환 하는 개념이자 현상이다. 공간은 소유의 대상이라기보다 존재론적 세계의 근원에 맞닿아 있다. 예컨대 서구문화권의 언어는 공간을 넓이, 간격, 사이, 장소, 지역, 비어 있는, 허공, 공백 등으로 풀이한다. 공간을 물리적으로 보는 측면이 유독 드러난다. 한편 한자문화권에서는 조금 더 다양하고 구체적으로 공간을 다룬다. 사전적 정의만 보아도 쉽사리 그 차이를 발견할 수 있다.


1. 상하 ․ 전후 ․ 좌우로 끝없이 퍼져 있는 빈 곳, 2. 쓰지 않는 빈칸, 3. 물리적으로나 심리적으로 널리 퍼져 있는 범위, 4. 일반적으로 점의 집합을 말함. 직선을 일차원, 공간 ․ 평면을 이차원, 입체를 삼차원이라 부름, 5. 물체의 배열이나 상호 관계를 반영한 양의 총합을 나타내는 경험적인 개념, 6. (어떤 일에서) 앞뒤가 순조롭게 연결되지 않아 생기는 빈 구멍. 2 위의 사전적 정의는 거시적인 측면부터 미시적인 관점까지 두루 아우른다는 점에서 인상적이다. 여하튼 동서양 모두 공통적으로 공간이란 빈 곳(비물질)이면서 동시에 물리적인 형태를 가지는 것으로 풀이하고 있다. 따라서 공간은 유기체와 무기체, 물질과 비물질, 정신과 신체, 비어 있는 것과 채워진 것의 사이에서 생성된다고 유추할 수 있다. 다시 1942년의 초현실주의 전시로 돌아가보자. 뒤샹이 전시장에 만들어 놓은 그물망은 공간의 원래 목적에 벗어나 있지만, 덕분에 아이들은 형식적으로 작품을 이해하기보다 자유롭게 작품과 모종의 관계를 형성하면서 주어진 것 너머를 탐색할 수 있었다. 아이들은 공간을 발견하면서 시간도 생성했을 것이다. 사실 오늘날 원형으로서의 공간 그 자체를 마주하기란 여간 어려운게 아니다. 현실은 공간을 기능으로, 경제적 수단으로, 정치적 목적으로 대하기 때문이다. 과학철학자이지만 세계를 구성하는 원소를 통한 상상, 공간에 대한 시적 사유를 했던 가스통 바슐라르 (G. Bachelard)는 철학자의 서랍과 서류함을 통하여 몽상의 시간을 얻었다. 그는 왜 이런 일상의 사물에 유독 관심을 가졌을까? 옷장이나 다락은 사물을 보관하는 기능을 가지고 있지만, 사람들은그 공간의 냄새에 반응한다. 추억이 깃든 물건, 손때 묻은 장난감, 낡은 옷의 먼지 냄새가 자극하는 정동(affect)이야말로 빈 곳의 존재를 드러내는 지점이다. 바슐라르는 다음과 같이 말한다: “장롱 속에는, 한없는 무질서에서 집 전체를 보호하는 질서의 중심이 살고” 있다고, 그리고 “질서란 단순히 기하학적인 것은 아니다” 3 라고 덧붙인다. 실제로 공간은 물리적 ․ 심리적으로 고정되어 있지 않으며, 오히려 끊임없이 주변의 자극과 우연 등의 상호작용에 의하여 생성, 소멸, 순환이 일어나기 때문이다. 물리적인 공간은 고정되어 있지만, 공간과 형성된 관계는 무질서 속의 질서, 즉 카오스모스(chaosmos)를 향해 공간을 추상적 ․ 질료적으로 전환 또는 전복하게 된다. 그렇다면 공간의 주체는 누구일까? 누가 만들어내는 것일까, 아니면 스스로 만들어지는 것일까? 발터 베냐민(W. Benjamin)은 파리의 아케이드에서 안과 밖의 경계 공간을 따라다녔고, 공적인 것과 사적인 것이 혼재한 무질서한 나폴리 거리의 광경을 흥미롭게 주목했다. 그는 이 카오스의 상태와 관련해 관습적인 질서의 바깥에서 안과 밖, 위와 아래를 이어주는 비질서의 세계가 접속하고 있음을 알아차린다. 마치 초현실주의 전시장에서 아이들이 보이지 않는 공간을 자발적으로 생성한 것과 같은 혼융의 상태를 목격한 후, 이를 “다공성”(porosity)이라 불렀다. 베냐민은 도시를 여러 겹의 시간과 이념이 혼합되어 형성된 것으로 인식하는데, 이는 초현실주의자들이 도시를 활용한 태도와 유사하다. 그들은 도시를 객관적으로 보는 동시에 어렴풋한 꿈처럼 바라보았다. 특히 소비와 향락에 도취된 도시의 생활 방식과 거리를 둔 채 과거의 흔적이 남아 있는 거리를 따라가며 그들만의 지도를 그렸다. 즉 공간이란 물리적인 부피와 이념에 의하여 완성되는 게 아니라 무의식, 흔적, 경험과 같은 기억이 담긴 시간의 켜가 쌓임으로써 생성되는 현상임을 보여준다.


벽, 닫힘과 열림 사이


서혜영은 공간의 작가다. 그의 공간은 육면체의 벽돌에서 출발 한다. 벽돌은 그 자체로 이미 공간인 동시에 공간을 구축하는 단위이기도 하다. 사실 그의 벽 이미지 자체는 그리 특별할 게없다. 현대인에게 매우 익숙한 형태이면서 익명적이고 반복성을 띤다. 하지만 바로 이 지점을 통해 작가는 공간이 지닌 현상이 매우 모순적이며 이중적임을 질문하는 듯하다. 벽 이미지는 그야말로 벽돌의 역사를 표상하는 기호에 머문다. 하지만 문제는 벽돌이 공간을 표상하는 기본적인 형태이면서 동시에 속이 꽉 찬덩어리(solid, mass)라는 사실이다. 그것은 서로 모순된 두 항을 충족시킨다. 서혜영은 빈 곳과 채워진 곳을 이항 대립하기보다 양가적인 세계로 끌어들이고자 한다. 이러한 양가성에 대한 물음이 그의 조형 세계를 관통하는 ‘하나의 전체’ 개념과 맞닿아 있다. 이번 전시에는 포함되지 않았지만 초기 설치작업 Voided Void(2001) 는 벽돌로 벽을 쌓은 드로잉을 전사한 얇은 반투명 천으로 제작된 가변적인 공간으로, 공간 안에 또 다른 공간을 기입하여 원래 공간의 정체성을 모호하게 만든 작업이다. 벽 이미지는 서혜영 작업의 조형적 모티프이자 끊임없이 되돌아가는 작업의 원천 (origin)이기도 하다. 이 유동적인 벽체는 안과 밖이 뫼비우스의 띠처럼 연결되어 열림과 닫힘이 계속 순환하는 모호한 상태의 공간이 된다. 김홍기는 이러한 시공간적인 모순에 대하여 “이쪽 에서 저쪽이 비치는 반투명한 막, 신체를 외부의 위험으로부터 보호하는 동시에 외부의 양분을 체내로 통과하는 피부와 같다” 4 고해석한다. Voided Void는 우리에게 익숙한 벽 이미지를 통하여 공간을 사유하는 이분법적 개념인 공동(共動, void)과 고체 (solid)의 구분을 중화시킨다.


한편 벽 이미지를 원형 삼아 제작된 ectype는 비정형적인 모듈로그 형태가 단일하지 않기에 조합에 따른 다양한 변형이 가능한 작업이다. ectype는 모형, 복사, 그리고 건축적인 의미로는 부조로 풀이된다. 서혜영의 ectype는 벽 이미지의 선형적 형태를 모티프로 한 벽면이면서 동시에 일정하게 구멍이 뚫려 있는 빈공간이 반복적으로 구성된 부조 모듈이다. 벽 이미지라는 원형을 재가공하여 모듈화한 작업으로 한시적으로 전시 공간을 자신의 것으로 영토화(territorialization)한다. 질 들뢰즈(G.Deleuze) 는 세계를 기계로 보았다. 또한 세계를 작동시키는 움직임과 에너지를 생성하는 내연 기관의 작동을 접속(connexion), 이러한 관계들을 재구성하는 과정을 배치(agencement) 라고 불렀다. 이 과정을 통하여 다양체가 생성되는데, 이를 두고 영토화가 되었다고 비유한다. 서혜영의 설치작업은 ectype 모듈들이 서로 접속하여 전시 공간에 배치되면서 유사한 형태들의 변주와 상호작용을 일으킨다. 다양성이 산출되는 과정이다.

이어서 모듈 조합에 따라 시각적인 다양성뿐만 아니라 이를 음악적으로 전유하여 비가시적인 차원의 가능성도 엿볼 수 있다.

이 작업에서는 시각적인 차원뿐 아니라 청각적인 가능성도 발견할수 있다. 모듈화된 작업을 하나의 멜로디로 비유한다면, 새로이 마주한 공간의 구조와 성질에 따른 조형성의 변화를 다양한 리듬으로 환원해볼 수도 있다. 들뢰즈는 반복되는 후렴구를 뜻하는 리토르넬로(rittornello)를 대지의 목소리라고 불렀다. 인류의 역사는 영토의 주권을 소유하기 위한 투쟁의 과정이기도 하다. 철학자는 우리에게 반문한다. 과연 이 땅의 주인이 누구인지를 말이다. 그는 역사 이전으로 되돌아가 땅의 원주인을 상상한다. 그렇게 새들의 지저귐은 의미를 얻게 된다. 새는 자신의 영토에 침입한 이질적인 존재에게 끊임없이 경고한다. 이것이 바로 들뢰즈가 말하는 리토르넬로이다. 땅이 내는 소리, 그것은 땅과 관계를 맺고 살아가는 생명체의 신호인 것이다. 마치 새처럼 비정형적인 모듈들은 전시 공간의 모서리, 기둥 사이, 벽과 천장 사이 등 예측 불가능한 곳에 자리를 편다. 갤러리와 같은 익명의 공간은 자신의 목소리, 음악을 가지기 어렵다. 이처럼 비어 있음은 또한 새로운 가능성의 숙주가 될 수 있다(Ectype 1702, 2017/ Ectype 1503, 2015).


서혜영의 작업을 미니멀리즘 작가 솔 르윗(Sol LeWitt)의 모듈식 작업과도 비교해볼 수 있겠다. 솔 르윗의 모듈작업은 큐브를 증식시킨 듯 보이는 그리드 구조의 입방체를 지속적으로 변주하였는데, 그야말로 큐브들이 조형적으로 얼마나 다양하고 흥미롭게 증식될 수 있는지를 실험하고 제안함으로써 입체주의 세계관을 공업화된 구조로 전유한다. 한편 서혜영의 모듈은 비정형적이면서 동시에 임의적인 성격이 상당히 강하다. 모듈은 일반적으로 표준화된 방식으로 대량생산하기 때문에 정형화된 틀에 구속되기 마련이다. 하지만 그의 모듈은 구부러진 각도와 모듈과의 연결 지점을 달리함으로써 모듈적이면서도 개별화되어 늘 변주가 가능한 리토르넬로가 이뤄질 수 있다. 이러한 비정형성은 솔 르윗의 가장 가까운 동료였던 에바 헤세 (Eva Hesse)의 임의적 설치를 떠올리게 한다. 물론 헤세와 서혜영은 매우 다른 톤을 가지고 있지만, 여성의 재현이 아닌 여성적인 것을 드러내기 위해 사용하는 조각의 방식과 질료의 가능성에 대한 상상은 도전적이면서도 지적인 자극을 주는 동력이 된다. 예술은 자유를 지향하지만 예술이 곧 자유의 실현은 아니며, 나아가 예술 행위가 자유를 보장하지도 않는다. 두 작가의 느슨한 교차점에 관해서는 앞으로 지속적으로 다뤄봄 직한 주제인 듯하다.


하나의 전체


수태고지를 주제로 한 연작 Ubiquitous(2003)는 르네상스를 이끈 거장의 회화를 완곡하게 참조하고 있다. 무엇보다 화려한 색채를 버리고 실루엣으로 등장하는 동정녀 마리아와 가브리엘 대천사의 모습이 인상적이다. 그들 주변으로는 여러 겹의 벽면이 배경으로 등장한다. 어린 마리아의 숭고한 몸짓과 대천사 가브리엘의 신성한 제스처로 만인에게 인간으로 탄생할 신의 계시를 알리는 장면은 기독교 신화에서 가장 절정의 순간을 포착한 것이다. 그러나 화려한 색과 인물의 몸짓이 지워지자 (또는 가려지자) 두 인물은 마치 물질인 동시에 비물질적인 공간이 된것만 같다. 작품 표제 Ubiquitous는 어느 곳에서나 존재한다는 의미인데, 이는 또한 멀티버스 세계관을 떠올리게 한다. 이곳에 있으면서 동시에 다른 곳에 존재하기 위해서는 공간의 위치와 시간의 순서 사이에 상관 관계가 뒤틀어져야만 가능하다. 그렇다면 Ubiquitous야말로 ‘하나의 전체’라는 작가의 세계관을 가장 잘 반영하고 있는 게 아닐까?


무용한 예술품과 유용한 사물 사이에 위치한 유닛 조합체인 Floating Units(2023)는 사용자에 의해 쓸모를 발견할 수있으며, 그 쓰임새는 공유와 사유의 경계를 넘나들며 소유와 사용의 기준을 무너뜨린다. 그의 작업을 견인하는 표제이자 주제 “하나의 전체”는 게슈탈트 심리학에서 자주 언급되는 개념이다. 하나가 전체에 영향을 줄 수 있다는 이 논리는 사회 심리학에서 주로 다뤄진다. 하지만 서혜영의 “하나의 전체”는 유기적인 관계성보다 비유기적이면서도 조응하고 접속할 수 있다는 가능성에 더 큰 무게를 두고 있는 것 같다. 무조건적으로 유기적인 상태를 추구하거나, 세상이 바라는 존재가 되기보다 서로 다른 것들이 접속하고 분화하면서 더욱 이질적이고 모호한 상태로 나아간다. 요컨대 “광장”(2010)을 보면 그야말로 텅 빈 공터가 등장한다. 화면의 대부분을 차지한 비스듬한 마름모꼴 형태의 공터 주변에 위치한 건물과 입구의 계단이 어딘지 모르게 엄격하게 보인다. 이처럼 보일 듯 말 듯 희미한 장면은 그 무엇도 설명하지 않는데도 감상자 개인의 기억을 건드린다. 그의 작업은 매우 객관적으로 보이지만, 실제로는 그와 반대의 감정을 불러일으킨다. 여기에서 광장이란 표제는 모순적이다. 그곳은 광장보다 밀실에더 가까워 보이기 때문이다. 바슐라르는 그의 저서 『공간의 시학』 에서 바깥에 갇힌 사람에 대한 이야기를 한다. 사람들은 밀실은 폐쇄적이고 광장은 개방적이라고 생각하지만, 현실은 반드시 이분법으로 분류되지 않는다. 안과 밖, 여기와 저기, 공간과 시간의 관계는 서로의 경계에서 진동한다. 마지막으로 근작 “남겨둔 가지”(2023)는 식물을 연상시키는 형태의 작업이다. 여기서 남겨진 가지란 가지치기를 의미한다. 가지치기는 나무를 아름답게 조형하는 방식이면서 동시에 나무의 건강과 수명을 연장시키기 위한 적극적 개입이다. 가지치기라는 행위는 이처럼 미와 생명을 포괄한다. 게다가 “남겨둔 가지”는 작가가 을지로의 한 금속사에서 20년 전에 제작한 황동볼을 우연히 발견한 일화가 덧붙여져 다른 작업과는 달리 서사적인 측면이 두드러진다. 이 일화는 2000년이후 급속도로 성장한 한국사회가 무엇을 잃었는지, 무엇을 잊었는지를 되묻게 한다. 남겨둔 가지는 염세적으로 본다면 한없이 쓸쓸해 보이지만, 역설적으로 가지의 강한 동세와 섬세하게 세공된 황동볼의 존재는 물질과 기억의 관계를 또렷하게 공명한다.


끝으로 나는 서혜영의 작업실에서 20년의 시간을 함께 보낸 전시를 기다리는 분해된 작업들과 그 기간을 함께해온 사람들이 남긴 글과 기록물을 뒤적거리며 마치 작가의 시공간을 평행우주의 시점에서 바라보는 것 같은 느낌을 받았다. 작업실 공간을 채운 음악 소리만이 유일하게 낯선 느낌을 중화시켜주었는데, 작가의 궤적을 따라가려고 노력하는 동안 현재의 시간에서 울리는 음악이 조금은 위안이 되었던 모양이다. 또한 익명적이면서도 기하학적인 조형작업 사이에 놓인 트레이싱지 위에 연필과 색연필로 그린 드로잉과 “남겨진 가지”의 황동 체인 사이에 매달린 비즈왁스는 내게 유독 감동적으로 다가왔다. 마치 드로잉과 비즈왁스가 조각과 설치 사이에서 과거와 미래를 매개하는 것 같이 느껴졌기 때문이다. 누군가의 삶을 단시간에 파악하기란 어려운 일이다. 다만 예술이라는 공유지에서는 실제의 시공간을 넘어 작가의 말과 몸짓, 물질적인 것과 비물질적인 것을 통하여 조심스레 연결고리를 발견할 수도 있으리라 기대한다.


1. David Hopkins,&#38;nbsp;Duchamp, Childhood, Work and Play: The Vernissage for&#38;nbsp;First Papers of Surrealism&#38;nbsp;, New York, 1942. Wealthy art patrons and members of New York’s cultural elite milled around, attempting to make what they could of the strange web or net in which they were caught, peering through it to look at the paintings, while a number of children wove in and out of the guests, eventually carving out a space for themselves in the central area of the exhibition. (원문 발췌), 저자 강조. https://www.tate.org.uk/research/tatepapers/22/duchamp-childhood-work-andplay-the-vernissage-for-first-papers-ofsurrealism-new-york-1942 (2023년 5월 1일 방문).

2. 네이버 사전.

3. 가스통 바슐라르 『공간의 시학』, 곽광수 옮김, 동문선 2003, 176쪽.

4. 김홍기, 전시 도록 「긴밀한 경계, 분리와 결합의 변증법」, 갤러리소소 2016
	“Wealthy art patrons and members of New York’s cultural elite milled around, attempting to make what they could of the strange web or net in which they were caught, peering through it to look at the paintings, while a number of children wove in and out of the guests, eventually carving out a space for themselves in the central area of the exhibition.” 1


First Papers of Surrealism (1942), the first group exhibition of immigrant surrealist artists from Europe held in New York, United States, became known, more than anything, for its design by Marcel Duchamp. Duchamp’s so-called “mile of string” installation threaded the entire exhibition space like a cobweb to hinder the bourgeois act of viewing an exhibition. This active intervention must have been an opportunity to subvert the conventional work-centered exhibitionviewing culture into a subject of a critical experiment. It also seems to imply a will to break away from the long European tradition. Perhaps what made this type of provocation possible was the desire to overturn the reality in which even surrealism was becoming stylized. This was because, while surrealist painting sought to hover in the unconscious world, signs and symbols remained tied by the grammar of painting. Consequently, when Duchamp threaded the space like a net to intentionally thwart the conventional viewing experience, ingenuous children began to create their own invisible spaces within the exhibition space. After all, children are instinctively capable of discovering and practicalizing the gap between what’s perceptible and imperceptible, given and imagined, and material and immaterial.


Holes in spacetime, the porosity


So, what is space? No two spaces are identical nor is any one space singular. Space is tied to the birth of the cosmic universe; it is a concept and phenomenon conceived, extinguished, and circulated in connection to time. Space is less a subject of possession and more in touch with the source of the ontological world. Linguistically, Western culture synonymizes it with “area,” “distance,” “gap,” place,” “region,” “emptiness,” “void,” or “vacuum,” which reflects a more physical view of space. On the other hand, the Chinese language-based Eastern culture approaches space from a wider yet more detailed point of view. The difference can easily be detected in the Korean dictionary definition of space: 1. An empty area that endlessly extends in all directions; 2. Unused blank; 3. Both physical and psychological expanse; 4. Generally, a set of points (a line, plane, and solid object are referred to as one, two, and three-dimensional space respectively); 5. An empirical concept representing the totality of quantities that reflect the arrangement or interrelationships of objects; 6. An empty hole formed as a result of a discontinuous event. 2 What is noteworthy about the above definitions is that it covers everything from a microscopic view to a macroscopic one. In any case, both Eastern and Western cultures see space as something that is empty (immaterial) yet simultaneously with a physical form. As such, space can be seen as being formed in the gap between the organic and inorganic, material and immaterial, mental and physical, and empty and full. Let us revisit the surrealist exhibition of 1942. The net Duchamp installed in the exhibition space deviated, from the space’s original purpose. However, this is precisely what allowed children the freedom to form their own relationships with the works and to explore beyond what was presented, rather than understanding the works only perfunctorily. While discovering new space, the children must also have generated time. The fact is that it is extremely difficult nowadays to encounter a space that is an archetype unto itself. This is because reality treats space as a function, an economic means, or a political end. Gaston Bachelard, a scientist and philosopher who had a poetic approach to space and elemental imaginations that make up the world, indulged in daydreams through the likes of drawers, chests, and cabinets. Why was he so intrigued by objects as mundane as wardrobes and drawers? Closets and attics serve the function of storing things, but what people react to is the smells that inhabit such spaces. The affect (a subjective feeling experienced in response to a stimulus) triggered by the smell of memorable objects, finger-stained toys, dust, and old clothes is what truly reveals the presence of the empty space. “In the wardrobe there exists a center of order that protects the entire house against uncurbed disorder,” Bachelard remarks, adding, “Order is not merely geometrical.” 3 In reality, space is bound neither by physics nor psychology but is, rather, constantly created, destroyed, and circulated through interactions with surrounding stimuli and coincidences. Physical space is fixed, but relationships forged with a space will convert or overturn it abstractly and materially to head towards order amidst disorder, that is, “chaosmos.”


Who, then, is the central agent of space? Who creates it? Or does it create itself? Walter Benjamin, who surveyed the shopping arcades of Paris, which border interior and exterior spaces, paid particular attention to the chaotic street scenes of Naples, where the public and private were intertwined. In regarding this state of chaos, he recognized that a world of disorder, accessing the conventional order from the outside, bridges the inside and outside, and the top and bottom. After witnessing this state of disorderly fusion, much like the one caused at the surrealist exhibition where children spontaneously created invisible space, Benjamin used the term “porosity” to describe it. Benjamin sees the city as something formed as a result of multiple layers of time and ideologies coming together, which is similar to the attitude with which surrealists used the city. They viewed the city both objectively and as if through a hazy dream, distancing themselves from the urban lifestyle of consumption and indulgence, they followed the streets stained with traces of the past to draw their own map. This shows that neither physical volume nor ideology completes a space; a space is a phenomenon created through accumulated layers of time—something embedded with the unconscious, memories, traces, and experiences. The wall, somewhere between open and closed Haiyoung Suh is a space artist. Her spaces begin from a hexahedral brick. A brick is already a space unto itself and simultaneously, a space-constructing unit. The truth is, there is nothing special about Suh’s wall images. The walls take an anonymous and repetitive form extremely familiar to modern-day people, but it is through this very point that the artist seems to question the paradoxical and equivocal nature of space as a phenomenon. The image of a wall itself remains nothing more than a symbol representing the history of bricks, but the point of contention is the fact that the brick is simultaneously a basic form representative of space and a solid mass. It satisfies two contradictory terms. Rather than creating a binary confrontation between something full and something empty, Suh seeks to pull the two into an ambivalent world. This question of ambivalence may be in line with the concept of “one and its entirety” that runs through her formative spectrum. Though excluded from this exhibition, her early installation Voided Voids (2001) is a variable space produced using a thin fabric with a drawing of a brick wall transferred onto it, intended to obfuscate the identity of one space by imprinting it with another. This wall image is a motif for Suh’s sculptural works as well as the origin of her work, to which she constantly reverts. This fluid wall form becomes a space in an ambiguous state where the interior and exterior are connected like a Möbius strip to create a perennial cycle of opening and closure.

Critic Kim Hong-ki interprets this spatiotemporal paradox as follows: “It is like a translucent membrane through which one side can be seen from the other, like skin that shields the body from external danger while simultaneously passing external nutrients through to the inside.” 4 Through the familiar image of a wall, Voided Voids neutralizes the dichotomous conceptual distinction of space as either a “void” or a “solid.”


Meanwhile Suh’s ectype series, involving the use of an atypical module produced with the wall image as an archetype, does not have a singular fixed form and, can therefore be combined into various forms. The title is interpreted as “model,” “replica,” and “relief” in architectural terms. Modeled after the linear wall image, ectype is both a wall and a relief module composed of empty holes, which repeat in regular intervals. This modular work temporarily territorializes the exhibition space as its own. Gilles Deleuze saw the world as a machine, the engagement of the internal engine that generates the movement and energy that operate the world as “connection (connexion),” and the process of restructuring these relationships as “assemblage (agencement).” Diversity is born through this process, which Deleuze likens to “territorialization.”

Inside the exhibition space, where Suh’s ectype modules are installed in assemblages to interconnect with one another, the variations of similar forms beget interactions—a process that breeds diversity. What can be detected in turn is the possibility of visual diversity attributed to different module combinations and furthermore, the possibility of the visual diversity being musically appropriated to tap into the invisible dimension. In this sense, the work not only has visual potential but also auditory potential. If a single module could be likened to a melody, the structure and properties of the renewed space and the ensuant changes in its formativeness could be deemed various rhythms. Deleuze used the Italian word ritornello, a recurring passage in music, to refer to the voice of the land. The history of humanity can be seen as an endless struggle to secure territorial sovereignty. The philosopher asks us in return, “To whom does the land belong?” He looks back to prehistoric times to picture the original owner of the land, and in the process bird songs attain meaning. Birds continue to warn alien creatures that invade their territory—the ritornello as described by Deleuze, that is, the sound made by the earth or the signals sent by a life form that lives in connection to the earth. Like the birds, the atypical modules are nested in the most unpredictable spots around the exhibition space—in the corner, in between columns, and in between the walls and ceiling. It is seldom that a space as anonymous in nature as a gallery gains a voice or music of its own, but as seen, emptiness can also serve as a host of new possibilities. (Ectype 1702, 2017/Ectype 1503, 2015).


Suh’s ectype is also comparable to minimal artist Sol LeWitt’s modular works—a series of variations in which cubes in grid structures seem to multiply endlessly. These works appropriate the cubist worldview by using an industrialized structure, and experimenting with and proposing the extent of formative diversity and interesting forms to which cubes can be proliferated. Meanwhile, Suh’s modules are both atypical and arbitrary in nature. As modules are generally mass-produced in a standardized manner, they are often bound to a typical framework. Suh’s modules, however, are bent and connected at varying angles and points, which gives them a modular yet individualized quality, allowing for a constantly variable ritornello. This type of atypicality calls to mind the arbitrary installations by Eva Hesse, LeWitt’s close colleague. Hesse and Suh obviously work in completely different tones, but the sculptural mode they employ to reveal femininity without direct representation of the female form and their imaginations of material possibilities share an impetus—one that’s both challenging and intellectually stimulating. Art is freedom-oriented, but it doesn’t always achieve freedom, nor does the practice of art guarantee freedom. The loose point of connection between the two artists is something worth further discussion.


One and its entirety


Ubiquitous 1, 2, 3, and 4 (2003), four parts of a serial work produced based on the theme of the Christian Annunciation, euphemistically references the paintings of Renaissance masters. What stands out about this work is the image of the Virgin Mary and the Archangel Gabriel, which appear as silhouettes, rid of the magnificent colors they’re known for. Around the two figures layers of walls appear as a backdrop. The original scene in which young Mary’s sublime body language and Archangel Gabriel’s divine gesture annunciate the birth of Jesus as God’s revelation to humanity, captures the most climactic moment in Christian mythology. By erasing (or obscuring) the symbolic colors and body language, the two figures become a space of sort—something simultaneously material and immaterial. Moreover, the title Ubiquitous, meaning “present, appearing, or found everywhere,” takes on the multiverse worldview. For something to be present both here and elsewhere, the correlation between its position in space and the sequence of time must be distorted. In that sense, Ubiquitous has to be the work that best reflects the artist’s outlook on the world, namely, “one and its entirety.”


Floating Units 2023 (2023), unit combinations that fall somewhere between useless art and useful objects, can serve functions as determined by users, and the functions, traversing the boundaries of private and public ownership, dismantle the ideas of possession and use. “One and Its Entirety,” the title and theme of Suh’s work at large, is a concept frequently discussed in Gestalt psychology. The idea that an individual constituent can affect the larger whole is mainly dealt with in social psychology, but Suh’s idea of “one and its entirety” places more weight on the possibility of a relationship that’s inorganic yet adaptable and accessible, rather than an organic one. The disparate elements in her works converge and diverge as they seek to advance to a more extraneous and ambiguous state rather than blindly pursuing an organic state or becoming something desired by the world. Her work A Square (2010), for example, depicts a literally vacant lot. The building with stairs in front of the entrance surrounding the oblique, rhombic lot, which takes up most of the frame, appears somewhat stern. The faint, vaguely discernable scene denies any explanation but, at the same time, nudges the viewer’s personal memory. Her works seem strictly objective and yet have the opposite effect of conjuring subjective emotions. The title, A Square, serves a paradoxical role here as the vacant lot appears much more like a closed chamber than an open square. In his book The Poetics of Space (2003), Bachelard talks about being trapped outside. People generally associate chambers with closedness and squares with openness, but reality isn’t always so dichotomous. The relationship between space and time creates resonance on the border between the inside and outside, between here and there. The last and most recent work, Prolongement 2023 (2023), resembles a plant. The Korean title, which translates to “left-behind branches” or “spared branches,” refers to the branches left intact after pruning—an active mode of intervention used to aesthetically shape a tree while also ensuring its health and extending its lifespan. As such, the act of pruning encompasses the values of beauty and life. On top of that, the work comes with an anecdote about the artist accidentally coming across brass balls produced by a metal shop in Euljiro some 20 years ago, adding a narrative aspect to differentiate it from the rest of her work. This anecdote forces us to question what Korean society, having undergone rapid growth since the early 2000s, has lost and forgotten in the process. From a pessimistic point of view, the “left-behind branches” may come across as infinitely desolate, but the tree’s paradoxically dynamic movement and the presence of the exquisitely crafted brass balls lucidly reverberate the relationship between material and memory.


As I rummaged through Suh’s studio, the disassembled works that spent two decades with her waiting to be exhibited, and the written and other records left by her contemporaries, I felt as though I was gazing over at her space-time from a parallel universe. The sound of the music filling the studio space was the only thing that pacified this strange feeling, and I found my last comfort in the music resonating in that present moment as I strove to trace her past footsteps. Amidst the anonymous yet geometric sculptural works, the pencil and colored pencil drawings on tracing paper and the beeswax hanging from the brass chain of Prolongement came across as particularly moving. It almost felt as if the drawings and beeswax were mediating the past and future amid the sculptures and installations. Assessing someone’s life in a short amount of time is no easy task. However, with art as our common ground, we might be able to transcend our physical space and time and discover subtle links in the artist’s words and gestures, in the material and immaterial things.


1. David Hopkins, “Duchamp, Childhood, Work and Play: The Vernissage for First Papers of Surrealism, New York, 1942,” https://www.tate.org.uk/research/tate-papers/22/duchampchildhood-work-and-play-the-vernissagefor-first-papers-of-surrealism-new-york-1942 (accessed: May 1, 2023).

2. NAVER dictionary.

3. Gaston Bachelard, The Poetics of Space, trans.Kwangsou Kwak (Seoul: Dongmunseon, 2003), 176.

4. Hongki Kim, Close Boundaries, the Dialectic of Separation and Union,, Gallery Soso, 2016, exhibition catalog.


Isola Project 2

서혜영, &#38;lt;이졸라 프로젝트 2&#38;gt;, KAIST 경영대학 Supex 경영관


	정소라
2017. 12.


 이번 전시 &#38;lt;이졸라 프로젝트 두 번째ISOLA Project II&#38;gt;는 KAIST 경영대학 슈펙스Supex 건물 내에 있는 아트리움이라는 일상적 공간을 새로운 조형적 요소를 더해 예술적 공간으로 전환시키는 서혜영 작가의 일회성 프로젝트이다. 서혜영 작가는 초창기부터 줄곧 선보였던 ‘벽돌 모티브brick motive’에서처럼, 각각의 유닛이 모여 전체를 형성하는 가운데 일어나는 고립과 결합의 작용들에 주목해왔다. 그러한 작용들에 대한 주목은 주체와 타인 간의 소외와 관계 맺음에 대한 은유, 더 나아가 인간 존재에 대한 깊은 성찰을 이끌어낸다는 평가를 받고 있다. 이번 전시에서는 새롭게 아트리움을 전시 공간으로 활용함으로써 '리서치 앤 아트 갤러리'로 한정되어 있던 그간의 전시 영역을 확장시킨다. 그리고 기존의 전시 공간에서는 작가가 이번 프로젝트를 진행하는 과정에서 조사한 자료들과 제작한 모형들을 아카이브 형태로 전시하여 관람자들의 이해를 돕는다. 


 전시의 제목인 ‘isola’는 이탈리아어로 ‘섬’을 뜻하며 ‘고립시키다’는 의미의 단어 ‘isolare’에서 파생되었다. 서혜영이 만들어내는 추상적 형태의 유닛들은 일상적 공간에 개입함으로써 기존의 공간을 해체하고 재구성한다. 작가가 고안한 조형적 요소들은 매우 단순한 형태이지만 고정되고 부동이던 공간에 개입함으로써 어떤 균열을 일으킨다. 그러나 이것은 물리적 파괴와 심적 불안을 야기하는 균열이 아니고, 생산적인 긴장을 유도하는 균열로서 작용한다. 다수의 익명에게는 익숙한 어떤 장소에서 시도되는 작가의 개입은 안정과 변화의 변증법적 단계를 거쳐 새로운 미적 경험의 공간을 생성하는 결과를 낳는다. 유닛들의 결합으로 생긴 반복된 형태는 가시적인 동시에 비가시적인 리듬을 형성하며, 공간에 미세하지만 자율적인 움직임 그리고 새로운 에너지와 생명력을 부여한다. 이렇게 조립이 가능한 여러 개의 유닛 형태의 분리와 연결은 마치 고립되어 있으면서도 주변과 관계를 맺고 있는 섬, 더 나아가서는 인간 존재의 특성을 상기시킨다. 이와 같은 서혜영의 작품들은 우리가 개별적 존재로서 하나의 전체를 구성하는 작은 유닛이지만, 하나의 전체는 매순간 변화하는 생명력을 지니며 그래서 의미 있는 빛을 발산한다는 사실을 보여준다.

 이번 전시에서 주요하게 활용되는 아트리움 공간은 유리창이 벽, 천장 등 공간의 많은 부분을 차지한다는 장소적 특징을 지닌다. 유리라는 매체는 외부의 풍경을 바라볼 수 있게 하는 동시에 외부적 시선을 투과시킨다. 내부와 외부의 경계이자 연결인 유리창에 입혀진 여러 유닛들, 즉 색면들의 조합은 프로젝트가 지속되는 두 달간 새로운 방식으로 공간의 내, 외부를 관계 짓고 그 공간 속을 오가는 이들에게 낯설지만 새로운 경험을 선사할 것이다. 그리고 이 경험들은 고립된 존재이자 수많은 타인과 연결되어 있는 우리들의 존재 방식을 통찰하는 계기가 될 것이다. 
	

This exhibition, &#38;lt;

ISOLA Project II&#38;gt;, is a one-time project by Haiyoung Suh, who transforms the ordinary space of the Atrium in the SUPEX building of KAIST College of Business into an artistic space with new formative elements. As shown in her early stages in the ‘brick motive’, Suh has been focusing on the isolation and bonding effects that occur in the formation of the whole unit. The attention to such effects is evaluated as a metaphor for alienation and connection between subject and others, and furthermore, a deep reflection on human existence. In this exhibition, the artist utilizes the Atrium as an exhibition space to expand the exhibition area that was limited to ‘Research and Art Gallery.’ In the existing exhibition space, the artist displays the materials and the models she produced in archive forms to help viewers understand them.
The title of the exhibition, ‘ISOLA’, meaning ‘island’ in Italian derives from the word ‘isolare’ which means ‘isolate’. Suh’s abstract units intervene into everyday space to disassemble and reconstruct existing space. The formative elements that the artist devised are very simple forms, but they intervene the fixed and immovable space causing cracks. These cracks, however, are not cracks that cause physical destruction and mental instability, but instead act as cracks to induce productive tension. The artistic intervention attempted at a space that is familiar to many but unusual to the artist results in the creation of a new space of aesthetic experience through dialectical steps of stability and change. Repetitive forms resulting from the combination of units create a visible but invisible rhythm, giving the space minute autonomous movements, new energy and vitality. The separation and connection of multiple units that can be assembled reminds people of the characteristics of an island that is isolated and related to its surroundings, and even human beings. These works of Suh show that people are small units of individual beings that make up a one whole unit and the one whole unit has a changing vitality every moment and thus emits meaningful light.


The Atrium space, which is mainly used in this exhibition, has a spatial feature of glass windows occupying a large portion of the area such as walls and ceiling. The medium of glass makes it possible to view the outside scenery and at the same time to transmit the external gaze. Haiyoung Suh created various types of triangular units to intervene at the intersection of the indoor landscape of the atrium and the outside campus landscape. The combination of these units, which are the demarcations and the connections between the inside and the outside, will define a new way to relate the inside and the outside of the space, add a landscape onto another landscape, and give new experiences unfamiliar to those who move in and out of the space during the two months of the project. These experiences will be an insight into our way of being, being isolated and connected with many others.


긴밀한 경계, 분리와 결합의 변증법서혜영, &#38;lt;하나의 전체 – 긴밀한 경계&#38;gt;, 갤러리 소소


	김홍기


미술평론가

2016. 04.


	서혜영은 벽돌의 작가이다. 어느덧 15년 이상 그의 작업은 한결같이 벽돌이라는 모티프를 출발점으로 삼아 왔다. 작업의 형식은 때로는 드로잉으로 때로는 조각으로 달라지지만, 그 창작의 첫걸음은 언제나 이차원적 공간이나 삼차원적 공간에 벽돌을 쌓아올리는 행위로 이루어진다. 서혜영에게 벽돌은 현실 세계를 구성하는 최소 원자이자 그의 조형 세계를 축조하는 기본 단위이다. 그의 창세기는 벽돌이 있으라는 태초의 명령으로 시작되는 것이다. 벽돌은 말 그대로 벽을 쌓아올리기 위한 재료이다. 벽돌을 쌓는 행위는 벽을 세우는 작업이다. 그리고 벽을 세우는 행위는 공간을 분리하는 동시에 결합하는 역설적인 작업이다. 벽은 안과 밖을 분리하는 경계이지만, 바로 그 경계를 통해서만 안과 밖이 특정한 관계를 이루며 서로 결합하기 때문이다. 분리하는 척력과 결합하는 인력이 서혜영의 벽돌에 담긴 두 역설적인 힘이다. 이 힘들이 서로 어우러져 만들어내는 다종다양한 효과들이 바로 그가 벽돌로 축조한 세계의 무늬인 것이다.
벽돌이 분리하고 결합하는 안과 밖은 여러 층위에서 변주된다. 벽돌은 실내와 실외 사이의 벽, 체내와 체외 사이의 벽, 내적 자아와 외적 세계 사이의 벽, 개인 심리학과 집단 사회학 사이의 벽, 사적 공간과 공적 공간 사이의 벽, 실재와 재현 사이의 벽 등 다양한 층위의 경계를 모두 은유하는 시각적 모티프로 이해된다. 이런 관점에서 보면 벽은 물리학, 생물학, 심리학, 사회학, 미학을 관통하는 보편적 구성 원리라고 할 수 있다. 때에 따라 서혜영의 벽돌은 풍경(자연)과 건축(문화)을 가로지르는 벽이 되기도 하고, 밀실(사적 공간)과 광장(공적 공간)의 경계가 되기도 하고, 생명체의 안과 밖을 가르는 피부가 되기도 하고, 재현된 세계와 현실적 세계의 경계이자 관문이 되기도 하는 것이다.
그러므로 태초에 벽돌이 있었다. 그리고 벽돌이 모여 경계(벽)가 들어섰다. 빛이 생겨남으로써 낮과 밤이 나뉘고 궁창이 만들어짐으로써 궁창 아래의 물과 궁창 위의 물이 구분되었듯이, 내부와 외부, 자아와 세계, 풍경과 건축, 재현과 실재도 애초부터 따로 있었던 게 아니라 ‘벽’이라는 사이 공간이 먼저 생겨남으로써 그 모든 분리와 결합이 생겨나는 것이다. 서혜영의 벽은 이처럼 분리와 결합을 반복하는 모든 사물의 기원을 은유한다. 기원에 대한 관심이 드로잉이라는 가장 근본적인 예술적 몸짓으로 이어지는 것은 자연스러운 일이다. 서혜영은 한국과 이탈리아에서 조각을 전공했고 이번 전시에서도 여러 벽돌 모티프의 조각을 선보이지만, 그의 작품세계에서 드로잉은 조각만큼 중요한 비중을 차지한다. 아무것도 없는 흰색의 평면 위에 선을 긋는 드로잉의 행위는 이차원적 세계에 ‘벽돌’을 쌓아올려 경계를 만들고 이쪽과 저쪽을 분리하고 결합하는 창조의 근원적 순간에 해당하기 때문이다. 어쩌면 그의 무한히 증식하는 벽돌 조각도 삼차원의 공간에 벽을 ‘긋는’ 일종의 드로잉일 수 있다. 그에게 드로잉은 이차원적 조각이며 조각은 삼차원적 드로잉인 셈이다. 드로잉에서의 난제가 조각을 통해 해답을 얻기도 하고, 조각이 궁지에 몰릴 때 드로잉이 새로운 돌파구를 열어주기도 한다.


그런데 창조의 근원을 이루는 경계는 절대적이지 않다. 그 경계는 조밀하고 불투명하기는커녕 많은 구멍을 지닌 반투명한 경계다. 그것은 막(幕)이나 피부에 가까운 것이다. 서혜영이 창조한 세계의 경계는 이쪽에서 저쪽이 비치는 반투명한 막, 신체를 외부의 위험으로부터 보호하는 동시에 외부의 양분을 체내로 통과시키는 피부와 같다. 실제로 그의 조각의 촘촘한 벽돌 모티프들은 직사각 형태의 수많은 작은 구멍이기도 하며, 그가 이번에 선보인 붉은색의 드로잉은 여러 장의 반투명한 인화지에 그린 드로잉들을 차곡차곡 겹쳐 놓아 은폐되기도 하고 노출되기도 하는 선의 이중성을 효과적으로 연출한다. 만약 그 경계가 너무나 조밀하고 불투명했더라면 이편과 저편의 관계는 분리가 아니라 단절로 치달았을 것이고, 반대로 너무나 성기고 투명했더라면 여러 층위의 이분법적 대상들은 서로 결합하는 게 아니라 식별 불가능할 정도로 혼합되어 버렸을 것이다. 단절이나 혼합으로 치닫지 않고 분리와 결합의 유희를 지속시키는 경계, 모형(ectype)과 통로(passage)의 성질을 한꺼번에 지닌 경계, 그것이 서혜영이 벽돌로 쌓아올린 경계의 고유한 성질이다. 그러므로 이곳에는 완전한 고립도 없고 완전한 개방도 없다. 밀실의 어딘가는 늘 광장으로 트여 있고, 광장의 어딘가에는 항상 밀실과도 같은 사각지대가 있다. 재현으로 틈입하는 실재와 실재로 육박하는 재현이 마치 무염수태와도 같이 매개 없는 월경(越境)을 지속한다. 투명과 불투명 그 어디로도 치우치지 않는 반투명한 세계의 근원으로서 이 경계는 매순간 긴장을 유지한다. 이번 전시에서 작가가 먹줄을 튕겨 그은 힘있는 선의 긴장감이 그 팽팽한 경계의 균형을 시각화한다. 이것이 바로 ‘긴밀한 경계’의 전모가 아닌가 싶다.
때때로 과거에 작가는 벽돌 사이로 사람이나 사물의 형상을 겹쳐 놓기도 했다. 그러나 이번 전시에서는 아무런 형상 없이 그저 벽돌과 선과 색만으로 이 긴밀한 경계의 모습을 연출한다. 이런 금욕적인 자세는 어떠한 구체적 형상도 미처 생성되기 이전의 진정한 창조의 근원으로 성큼 다가서려는 작가의 의지로 읽힌다. 대신 그는 조각에 색을 입히는 실험을 감행한다. 때로는 전혀 다른 색의 벽돌 구조들이 서로 결합되기도 하고, 때로는 명도와 채도가 다른 여러 노란색의 벽돌 구조들이 중첩되기도 한다. 이렇듯 작가는 벽돌로 쌓은 경계를 시발점으로 삼아 빛과 색의 생성과 분화의 순간까지 포착하려 한다. 이번 전시가 열리는 갤러리소소의 공간은 빛과 색의 실험을 위한 최적의 장소로 보인다. 통유리를 통해 풍경에서 건축으로 진입하는 자연광이 서혜영의 조각과 만나 빛과 색의 다채로운 분리와 결합을 가능케 한다. 결국 그가 벽돌로 쌓아올린 경계들은 무한한 분리와 결합의 가능성을 간직하고 있다. 그 비밀스러운 가능성이 열리는 순간, 세계는 ‘하나의 전체’로서 우리에게 드러나는 것이다.


	Haiyoung Suh is an artist working with bricks. Her consistent motif has been bricks for over 15 years now. Forms of work might differ – drawing or sculpture – but the first step in her creative work was to stack up bricks in a 2-dimensional or a 3-dimensional space. For Suh, a brick is the smallest atom as a component of the real world and a basic unit to make a sculptural work. Her book of Genesis starts with God’s first command, “Let there be bricks.” A brick is literally a material to stack up a wall, which is a work of mounting a wall. The act of mounting a wall is a paradoxical work of separating and combining the space at the same time. A wall is a perimeter to distinguish the inside and the outside, but only through which can both sides form a specific relationship. The repulsive force of detachment and the attractive force of attachment are the two paradoxical forces embedded in her bricks. Multifaceted effects generated by the intermingling of these forces are the pattern of the world she constructed using bricks. 


The inside and the outside that are separated and combined by bricks vary on multiple layers. Bricks are understood as a visual motif that metaphorizes all the boundaries of walls between the inside vs. the outside, the inner body vs. outer body, the inner self vs. outer world, personal psychology vs. collective sociology, a personal space vs. a public space and reality vs. representation. In this perspective, bricks are the mechanism of universal composition penetrating into physics, biology, psychology, sociology and aesthetics. Suh’s bricks could be a wall that crosses the landscape (nature) and the architecture (culture), a perimeter between a private room (a private space) and an open plaza (a public space), a skin dividing the inside and the outside of a living creature, and a perimeter and a gateway of a represented world and a real world. 


Therefore, bricks have been with the mankind from the beginning of the world. Bricks were gathered together to make a perimeter (a wall). The light came in, separating the day and the night and creating firmaments, which divided the water below firmaments and above them. The inside and the outside, self and the world, landscape and architecture, and representation and reality were not there from the very beginning: all sorts of division and combination came into being with the creation of a space which is a ‘wall’. Suh’s wall is a metaphor of the origin of all objects that undergo the repeated course of separation and combination. It is natural that an interest in origins is developed into the most fundamental artistic gesture, which is ‘drawing.’ Suh majored in sculpture in Korea and Italy, and showcases sculpture as the motif for bricks in this exhibition. Yet, drawing is as important as sculpture in her art universe because the act of drawing a line on a white empty plane is the fundamental moment of creation where ‘bricks’ are stacked up in a 2-dimensional world to make a perimeter, separating and combining here and there – a fundamental moment of creation. In a way, the brick pieces that are endlessly growing in number could be a part of ‘drawing’ on a wall in a space. For her, drawing is a 2-dimensional sculpture, and sculpture is a 3-dimensional drawing. Solutions for bottlenecks in drawing are found in sculpture, and drawing will open up new channels when sculpture gets stuck.


A perimeter as the foundation for creation is not absolute. The perimeter is semi-transparent with many holes, instead of being tight and opaque. It is analogous to a membrane or the skin. Suh’s perimeter of the world is like a semi-transparent membrane where the other side is seen from this side, and the skin that protects the body from external risks and enables external nutrients to be penetrated inside. In fact, the tightly placed bricks as the motif for her sculpture are numerous small holes in rectangular shapes. Here drawing in red this time effectively shows the duality of lines that are either hidden or exposed by layering pieces of drawing on semi-transparent printing paper. If the perimeter had been so tight and opaque, the relationship of this side and that side would not have been that of separation but of rupture. Likewise, if it had been too loose and transparent, objects of dichotomy in many layers would not have been combined but overly mixed up to the extent of being unidentifiable. It is the uniqueness of the perimeter that sustains the combination and amusement without being pushed to rupture or combination, has characteristics of both ectypes and passages at the same time, and has been stacked up with bricks by Suh. Therefore, there is neither complete isolation nor complete opening. Somewhere in a private room is opened to a plaza, and somewhere in a plaza has a blind spot like a private room. The reality penetrating into the world of representation, and the representation coming closer to the reality are continuously crossing the perimeter without a medium like the immaculate conception. The perimeter as the origin of the semi-transparent world that is not skewed to either transparency or opaqueness maintains tension in every moment. The tension of the powerful line drawn by splashing an ink line in this exhibition visualizes the balance of the tight perimeter. This truly is the full account of the ‘close perimeter.’  


She used to occasionally place images of people or objects between bricks in the past. However, she exhibits this time the tight perimeter with only bricks, lines and colors without any images. Such an abstinent attitude is understood as her intent to take a closer step to the genuine root of creation even before specific images were formed. Her experiment this time is to color her sculpture. The brick structure of totally different colors gets to be combined, and brick structures in various tones of yellow with different brightness and chroma sometimes overlap. As such, she tries to capture the moments of generation and division of lights and colors, starting from the perimeter stacked up with bricks. The space at Gallery SoSo where the exhibition is held seems like an optimal place for experiments with lights and colors. The natural light penetrating into the architecture from the landscape through the glass wall window encounters the sculpture of Suh, enabling diverse separations and combinations of lights and colors. The perimeters she stacked up with bricks hold the possibilities of limitless separations and combinations. At the moment when such mysterious possibilities open up, the world is exposed to us as the ‘one and its entirety.’ 


트러프 프로젝트, 인터뷰
서혜영, &#38;lt;트러프 프로젝트5</description>
		
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서혜영iamassi415@gmail.com
 &#38;nbsp;
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	haiyoung suh Lives and works in Seoul, Republic of Korea


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1991 이화여자대학교 미술대학 조소과 졸업

1995 브레라 국립미술학교 졸업, 밀라노, 이탈리아


개인전


2024 다시 불러낸 시간, A BUNKER, 서울
2023 Node, One and its entirety, 성곡미술관, 서울
2022 Floating units, 금고미술관, 서울
2021 남겨둔 가지 Prolongement, 갤러리 소소, 헤이리 

2020 Isola Project 3, 상업화랑, 서울

2017 Isola Project 2, Research &#38;amp; Art Gallery, KAIST 경영대학, 서울

2016 하나의 전체 - 긴밀한 경계, 갤러리 소소, 헤이리

2015 하나의 전체 - 가능성 있는 모든 결합, 트러프 프로젝트 IV, 주한독일문화원, 서울

2014 사물의 공간, 갤러리 조선, 서울

2010 막, 갤러리 소소, 헤이리 

2007 Still Room, 금호 미술관, 서울

2003 ubiquitous, 갤러리 인, 서울

2002 가나 인사 아트센터 - 석남 미술상 수상 기념전, 서울

2002 Gold Brick III, 스페이스 SADI, 서울

2001 The Brick, 토탈 미술관, 장흥

2000 Gold Brick, 윈도우 갤러리, 갤러리 현대, 서울

2000 The Room, 갤러리 인, 서울

1996 The Bone, 갤러리 보다, 서울


그룹전

2020 예술과 에너지 - 에너지 교류기와 저장소, 전북도립미술관, 완주 

2020 놀이가 미술이 될 때, 광주시립미술관

2019 DMZ 평화정거장, 캠프 그리브스, 파주 

2019 A BUNKER의 발견, A BUNKER 

2018 상상의 통로, 연강갤러리, 연천

2018 Hommage to posco 포스코 창립50주년 기념 특별전, 포스코 미술관

2018 보이지 않는 것을 공기중에 배열하는 기술, 일우 스페이스

2017 온도의 환기 - 네 개의 방, WHITE BLOCK art center, 헤이리

2013 놀이 시-작, 예술의 전당

2011 내각 internal angle, 갤러리 소소

2010 벽돌, 한국 근대를 열다, 클레이아크 김해미술관

2004 집의 숨 · 집의 결 이화여자대학교박물관 기획, 영암 도기문화센타 특별전 &#38;nbsp;

2004 WALL WORKS, CAIS 갤러리

2002 Neo Painting, 한·미 젊은 회화전, 영은미술관

2002 Three Young Artists from Korea, MDS Gallery, 동경

2002 케미컬 아트전, 갤러리 사간

2001 제5회 세계평화미술제, 전쟁기념관

2000 유토피아-디스토피아, 성산아트홀, 창원

2000 21세기를 여는 지성과 감성전, 예술의 전당

2000 새천년 대한민국의 희망전, 국립현대미술관

1995 살롱‘95 브레라 국립미술학교 갤러리 비앙카 필라트, 밀라노, 이탈리아

1990 뉴폼, 윤갤러리

1990 제4회 바다미술제, 부산


프로젝트&#38;nbsp;

2014 jardin de chouette - artist collaboration 

2013 현대 컬쳐파크 - artist collaboration 

2011 jardin de chouette - artist collaboration 

2010 jardin de chouette - artist collaboration 

2009 jardin de chouette - artist collaboration 

2001 BOON the shop, 신세계 인터내셔널 - artist collaboration 

2000 야외조형문화축제, 한국 페스티발 앙상블, 국립현대미술관 


레지던시

2019 Cité internationale des arts, 파리, 프랑스


수상
2001 제21회 석남 미술상


작품소장처

국립현대미술관

금호미술관

서울시립미술관

Space*C, 코리아나 미술관

삼성 미술관

아모레 미술관
 송원아트센터

제일모직 본사사옥

삼성전자 서초사옥

GS 강남 본사 사옥

충북 음성 꽃동네 

가천대 길병원

김 &#38;amp; 장 법률사무소

법무법인 김장리

한화 리조트, 용인 

AK plaza, 평택 

IT Thinknet,서울 

KLUBER lubrication, 서울

주 태국 대한민국 대사관, 방콕

휴넷 플러스, 천안 

용인시민체육공원, 용인

KAIST 경영대학, 서울

citibank 본점, 서울 &#38;nbsp;

현대백화점 사옥, 서울 

더 현대 서울, 서울 


1995 M.F.A. in sculpture, Accademia di belle arti di Brera, Milano, Italia 

1991 M.F.A. in sculpture, Ewha Womans University, Seoul


Solo Exhibitions

2024 Recollecting the moments, Seoul, Korea
2023 Node One and its entirety, Sungkok Art Museum, Seoul, Korea
2022 Floating units, gallery SAFE, Seoul, Korea
2021 Prolongement, Gallery soso, Paju, Korea 

2020 Isola Project 3 , gallery sangup, Seoul, Korea

2017 Isola Project 2 , Research &#38;amp; Art Gallery, KAIST college of business, Korea

2016 One and its entirety - tight perimeters, Gallery soso, Paju, Korea

2015 One and its entirety - prospective compositions, Trough Project IV, GOETHE INSTITUT, Seoul, Korea

2014 Isola Project, Gallery Chosun, Seoul, Korea

2010 Curtain, Gallery soso, Paju, Korea

2007 Still Room, Kumho Museum of Art, Seoul, Korea

2003 ubiquitous, Gallery IHN, Seoul, Korea

2002 Gold Brick III, Space SADI, Seoul, Korea

2002 Gana INSA Art Center, Seoul, Korea

2001 The Brick, TOTAL ART MUSEUM, Jangheung, Korea

2000 Gold Brick, Window Gallery, Gallery HYUNDAI, Seoul, Korea

2000 The Room, Gallery IHN, Seoul, Korea

1996 The Bone, Gallery BODA, Seoul, Korea


Group exhibitions (selection)

2020 Art &#38;amp; Energy, Jeonbuk Museum of Art, Wanju, Korea

2020 When Play Becomes Art, Gwangju Museum of Art, Gwangju, Korea

2019 DMZ peace platform, Camp Greaves, Paju, Korea

2019 Unveil A BUNKER, A BUNKER, Seoul, Korea

2018 IMAGINARY PASSAGE, gallery yeongang, yeoncheon, korea

2018 Hommage to posco, posco art museum, Korea

2018 The Art of Arranging the Invisible in the Air, ilwoo space, Korea

2017 Temperature stirring, WHITE BLOCK, Paju, Korea

2013 Art &#38;amp; Play, Seoul Art Center, Seoul, Korea

2011 Internal Angle, gallery SOSO, Seoul, Korea

2010 Brick, Clayarch Gimhae Museum, Seoul, Korea

2004 Wall Works, C.A.I.S. gallery, Seoul, Korea 

2004 The Breath of House, organized by Ewha Womans University &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 2004
Museum &#38;amp; Yeongam Pottery Culture Center, Yeongam, Korea

2002 Neo Painting - Korea America Young Paintings, youngeun museum of contemporary art, Kwangju, Korea

2002 Three Young Artists from Korea, MDS Gallery, Tokyo, Japan
 2002 Chemical Art, gallery SAGAN, Seoul, Korea


Project&#38;nbsp;

2014 jardin de chouette - artist collaboration, Seoul, Korea

2013 HYUNDAI culture park - artist collaboration, Seoul, Korea

2011 jardin de chouette - artist collaboration, Seoul , Korea

2010 jardin de chouette - artist collaboration, Seoul, Korea

2009 jardin de chouette - artist collaboration, Seoul, Korea

2001 BOON the shop - artist collaboration, Seoul, Korea

2000 Korea Festival Ensemble, National Museum of Contemporary Art, Gwacheon, Korea


Residency

2019 Cité internationale des arts, Paris, France


Award 
2001 21th Suknam Art Prize


Collections

National Museum of Modern and Contemporary Art, Ktorea

Kumho Museum of Art, Seoul, Korea

Seoul Museum of Art, Seoul, Korea

Space*C, Koreana Art &#38;amp; Culture Complex, Seoul, Korea


Samsung Art Museum, Seoul, Korea


Amore Pacific, Seoul, Korea


Songwon Art Center, 
 Seoul, Korea


Samsung Cheil Industries, Seoul, Korea

Samsung Electronics, Seoul, Korea


GS holdings, Seoul, Korea


Kkottongnae Social Walfare Facilities, Umsung, KoreaGhil&#38;nbsp; Hospital, Incheon, Korea


Kim &#38;amp; Chang Law Office, KoreaKIM CHANG LEE Law Firm, Korea


Hanhwa resort, Yongin, Korea

AK plaza, Suwan, Pyungteak, Korea


IT thinknet, Seoul, Korea 

KLUBER Lubrication, Seoul, Korea

Embassy of Rep of Korea in Kingdom of Thailand, Bangkok, Thailand

HUNETPLUS CO.LTD

YONGIN public sports park, Korea

KAIST college of business, Korea

citibank, Korea

HYUNDAI department store group, Korea

The HYUNDAI Seoul, Korea


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