Routine / Misty Moon Gallery / 21. Mar. 2012 - 30. Mar. 2012

Landscape of Routine    

     We tend to think of everyday as mundane, oppressive and repeatedly controlled. However, the everyday can also be the home of the mysterious and nouveaute as its repetitive routine always holds out the possibilities of new transformation and translation. The commonplaces of existence of everydayness are indeed filled with strange and endless encounters with eventfulness. These are infinitely stranger than those most repeated actions, those most traveled journeys and those most used objects.

     Jinhee Park takes the heterogeneous and ambivalent landscape of everyday as a key element of his work. For his second solo show ‘Routine’ (the first solo show in the UK), Jinhee Park showcases a series of works which can indicate an accumulation of colourful depiction and close observation of those repeated actions, traveled journeys, and common objects within the vibrant (non)-everyday.

     The first instance is Extended Landscape (2012) which consists a number of photographs within painted wooden frames. The artist himself has been traveling across many different countries and taking photographs. These traveled journeys and the photographs from the repeated actions for collecting are framed. He chooses photos from his vast collections and matches them with the most visually applicable wooden frames considering both the photographic images and the patterns on the surface of the wooden frames. Then, he colours those patterns in response to the images. The frames become a part of his journeying and the images become a part of his works. This work illustrates the idea of collecting recurrences and expanding them into the broader landscape which is his most fundamental and radical concept. This work can also be recognised as a visual accumulation of his interrelation with different spheres of routine and collected moments. Within this work his secreted but compellingly colourful appreciations become the elemental demands for the collected images of journeys to be something other or more than fragments of days.

    His other works In Pause (2011) and Dewdrops (2012) can also be seen as a series of visualisations of personal dialogues in between the moments and surroundings of everyday and generating them in artistic pieces. The potential of new landscape and translation of usual objects of daily life is visualised. Both In Pause and Dewdrops are full-scale reproductions of the objects. In these works, he re-imagines usual objects and situations of daily surroundings by juxtaposing and directing them to quite different ends. In this sense, it seems natural for him to use wood as the main material. His recent works show his great interest in wood paneling. Wood panels are one of the basic materials that are mass produced and normally cut into the same regular size. It possesses two-sided characteristics of general commodity and traces of nature as though everyday routine has ambivalent aspects. The artist finds the traces of nature from the surface patterns on wood and piles vivid colours on the patterns figuring a shape of water-drops. He illustrates how the pattern is similar to that of running water, blowing wind, and the flames of fire through the vivid colouring. The featured works In Pause and Dewdrops markedly show the observation and appreciation of such ambivalent aspects of everyday routine and its surroundings.

    The dialogues in between the moments he collected from everyday life and his works show both routinised composition and colourful appreciation. At the same time, it shows both repetitive chores as well as pleasures from the process of making which compensate for the drudgery. The dialogues between the mundane and nouveaute, between observation and creation, between the concrete and abstract, requires continual testing. There is no empirical reality that can simply be interpreted into artworks. In his works, there is rather an artistic dialogue with routine and its landscape, coupled with a continual testing and attention to lived experience.

    Jinhee Park is inclined to create his own artistic dialogues rather than accepting the extant state of the purpose of art. His works illustrate that the everyday cannot be works of art but leaves its imprint on the shape of art and that these imprints of everyday landscape osculate the artist with his works. The exhibition ‘Routine’ shows the Jinhee Park’s closeness to the actuality of days. It can be struggling for one to maintain the perpetually changing actuality of the everyday but compelling to make tracks and to share the immersion in the pleasure of ambivalent everyday landscape.

Hyukgue KWON