Seongsan Art Hall

Yun Jeong-ui, Lying Bust, 2024, fired clay, glaze, 43 × 40 × 31 cm
Yun Jeong-ui, Lying Lower Half Body, 2024, fired clay, glaze, 36 × 46 × 39 cm
Yun Jeong-ui, Leg, 2024, fired clay, glaze, 19 × 61 × 41 cm
Yun Jeong-ui, Upside Down Leg, 2024, fired clay, glaze, 17 × 59 × 28 cm
Yun Jeong-ui, Upside Down Arm, 2024, fired clay, glaze, 16.5 × 72 × 23 cm
Yun Jeong-ui, Upper Half Body, 2024, fired clay, glaze, 22 × 88 × 52 cm
Yun Jeong-ui, Arm to Arm, 2024, fired clay, glaze, 18 × 51 × 47 cm
Yun Jeong-ui, Hand to Hand, 2024, fired clay, glaze, 17.5 × 41 × 24 cm
Yun Jeong-ui, Diagonal Arm, 2024, fired clay, glaze, 38.5 × 13 × 23.5 cm
Yun Jeong-ui, Hand with Extra Spaces, 2024, fired clay, glaze, 20 × 13 × 11 cm
Commissioned by the 7th Changwon Sculpture Biennale 2024

Understanding sculpture as an accumulation of choices and endless relationship formation, Yun Jeong-ui refines the structure and surface of the human body and shapes its mass, scattering multiple bodies that appear distorted or twisted across stable, balanced ground. The artist molds clay, fires it in a kiln, adds carefully colored glazes, and fires it repeatedly, revisiting the sculpture’s surface layers over and over again. These sculptures are a process of division and recombination, connecting disjointed nodes. Yun recognizes his own body as the framework for his sculptures, and understands the movement between the object of sculpture and the sculpting body as an act of sculpture in its own right.

 

Seongsan Art Hall

Yun Jeong-ui, Lovers(Casting), 2022, solvent transferred charcoal, pastel on paper, 52.5 × 40 cm
Yun Jeong-ui, Lovers(Casting), 2022, solvent transferred charcoal, pastel on paper, 52.5 × 40 cm
Yun Jeong-ui, Undress(Casting), 2022, solvent transferred charcoal, pastel on paper, 52.5 × 40 cm
Yun Jeong-ui, Torso(Casting), 2022, solvent transferred charcoal, pastel on paper, 52.5 × 40 cm
Yun Jeong-ui, Undress(Casting), 2022, solvent transferred charcoal, pastel on paper, 52.5 × 40 cm

Yun Jeong-ui translates “casting,” a sculptural technique that temporarily fixes the shape of a space and then mimics its form as a mold, into a flat drawing. Drawing body parts with charcoal on paper, Yun then soaks the paper in a solvent and transfers the drawing onto another piece of paper. In this way, the artist captures the time of sculpture — the assemblage and expansion of another spatial form upon the extant surface.