“Language of Cake” expresses the ‘language of cake’ through the materials that make up the work: paint, canvas, and the image of cake. In the process, the layers of paint form a dependent structure that influences each other, with the original color of the fabric forming the support of the canvas, and gesso applied on top as an element of flavor. Through this technique, the artist aims to convey the solid presence of the sheet, which lies beneath the whipped cream but plays a crucial role in the shape and taste of the cake. 

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Language of cake

“Cake itself” attempts to create a unique layer of textures, colors, and forms of different media on a canvas, while also it is trying a sensual arrangement that reveals its presence. Artist  raises questions regarding the function of painting between image and substance. She is trying to figure out what painting can do at this time, when cognitive reference points will be re-adjusted to the new media environment. She examines the prospect that the medium of dialogue between object and picture transcends the correlation between the real and virtual worlds. 

Cake itself

“Spotted dog” attempts to create a unique layer of textures, colors, and forms of different media on a canvas, while also it is trying a sensual arrangement that reveals its presence. Artist HaSeulLin Jeong raises questions regarding the function of painting between image and substance. She is trying to figure out what painting can do at this time, when cognitive reference points will be re-adjusted to the new media environment. She examines the prospect that the medium of dialogue between object and picture transcends the correlation between the real and virtual worlds. 

Spotted dog

“Sunday special” attempts to create a unique layer of textures, colors, and forms of different media on a canvas, while also it is trying a sensual arrangement that reveals its presence. Artist HaSeulLin Jeong raises questions regarding the function of painting between image and substance. She is trying to figure out what painting can do at this time, when cognitive reference points will be re-adjusted to the new media environment. The she examines the prospect that the medium of dialogue between object and picture transcends the correlation between the real and virtual worlds. 

Sunday special

“Fitting hole” is an artwork that reorders the placement of two plates of differing sizes on canvas and inverts the pictures of plate 1 and plate 2. With these techniques, the artist creates an entirely new image by rearranging the layers in a different order, even though the layers themselves remain the same. By painting, she uses various approaches to portray the axis of time. Throughout the work, it leaves clues to infer the time axis or builds a dependent structure that paints layers impact one other to generate visual interpretation. 

Fitting hole

“18!Practice” is an artwork that reorders the placement of two plates of differing sizes on canvas and inverts the pictures of plate 1 and plate 2. With these techniques, the artist creates an entirely new image by rearranging the layers in a different order, even though the layers themselves remain the same. The artist raises questions regarding the function of painting between image and substance. By painting, she uses various approaches to portray the axis of time. Throughout the work, it leaves clues to infer the time axis or builds a dependent structure that paints layers impact one other to generate visual interpretation. 

18!practice

Artist HaSeulLin Jeong raises questions regarding the function of painting between image and substance. By painting, she uses various approaches to portray the axis of time. Throughout the work, it leaves clues to infer the time axis or builds a dependent structure that paints layers impact one other to generate visual interpretation. The “10!practice” is an artwork that reorders the placement of two plates of differing sizes on canvas and inverts the pictures of plate 1 and plate 2. With these techniques, the artist creates an entirely new image by rearranging the layers in a different order, even though the layers themselves remain the same. 

10!practice

"Letters to Layer-1" is a piece from the artist's "Letters to Layer" series, demonstrating artist's philosophy of the painting. She collects images from her life and expresses them with colors and textures, like weaving with thread, using the features of painting that make it less difficult to disclose the process of building up layers than other mediums. She uses techniques like spraying, dripping, and applying paints thickly to build up layers in patterns like grids, checks, and waves. This creates a context where the layers interact, resulting in a remarkable pictorial space. With this layering, each layer has a supportive relationship with the other rather than a clear separation. The artist hopes viewers to find out the layers from the cues in the painting and experience a sense of time and depth while imagining a non-visible point.

Letters to Layer-1

"Letters to Layer-3" is a piece from the artist's "Letters to Layer" series, demonstrating artist's philosophy of the painting. She collects images from her life and expresses them with colors and textures, like weaving with thread, using the features of painting that make it less difficult to disclose the process of building up layers than other mediums. She uses techniques like spraying, dripping, and applying paints thickly to build up layers in patterns like grids, checks, and waves. This creates a context where the layers interact, resulting in a remarkable pictorial space. With this layering, each layer has a supportive relationship with the other rather than a clear separation. The artist hopes viewers to find out the layers from the cues in the painting and experience a sense of time and depth while imagining a non-visible point.

Letters to Layer-3

"Letters to Layer-Stripe" is a piece from the artist's "Letters to Layer" series, demonstrating artist's philosophy of the painting. She collects images from her life and expresses them with colors and textures, like weaving with thread, using the features of painting that make it less difficult to disclose the process of building up layers than other mediums. She uses techniques like spraying, dripping, and applying paints thickly to build up layers in patterns like grids, checks, and waves. This creates a context where the layers interact, resulting in a remarkable pictorial space. With this layering, each layer has a supportive relationship with the other rather than a clear separation. The artist hopes viewers to find out the layers from the cues in the painting and experience a sense of time and depth while imagining a non-visible point.

Letters to Layer-Stripe

"Letters to Layer-Swan" is a piece from the artist's "Letters to Layer" series, demonstrating artist's philosophy of the painting. She collects images from her life and expresses them with colors and textures, like weaving with thread, using the features of painting that make it less difficult to disclose the process of building up layers than other mediums. She uses techniques like spraying, dripping, and applying paints thickly to build up layers in patterns like grids, checks, and waves. This creates a context where the layers interact, resulting in a remarkable pictorial space. With this layering, each layer has a supportive relationship with the other rather than a clear separation. The artist hopes viewers to find out the layers from the cues in the painting and experience a sense of time and depth while imagining a non-visible point.

Letters to Layer-Swan

"Letters to Layer-Parchment" is a piece from the artist's "Letters to Layer" series, demonstrating artist's philosophy of the painting. She collects images from her life and expresses them with colors and textures, like weaving with thread, using the features of painting that make it less difficult to disclose the process of building up layers than other mediums. She uses techniques like spraying, dripping, and applying paints thickly to build up layers in patterns like grids, checks, and waves. This creates a context where the layers interact, resulting in a remarkable pictorial space. With this layering, each layer has a supportive relationship with the other rather than a clear separation. The artist hopes viewers to find out the layers from the cues in the painting and experience a sense of time and depth while imagining a non-visible point.

Letters to Layer-Parchment

“Toast” is a piece of a series of works by the artist that capture the qualities of various foods. The artist connects the ingredients with the properties of painting, which is the best arrangement of distinctive forms through texture, color, and techniques. Exploring the special role of painting in the overabundance of images in current culture with the intention that the viewer would experience the paintings through taste, which is an individual, personal, yet universal and intuitive sense. By repeatedly splitting the enormous canvas into smaller sections, the viewer is asked to appreciate the arrangement and harmony of the numerous forms and is brought into the process itself. 

Toast

“Orange Hill” is a piece of a series of works by the artist that capture the qualities of various foods. The artist connects the ingredients with the properties of painting, which is the best arrangement of distinctive forms through texture, color, and techniques. Exploring the special role of painting in the overabundance of images in current culture with the intention that the viewer would experience the paintings through taste, which is an individual, personal, yet universal and intuitive sense. By repeatedly splitting the enormous canvas into smaller sections, the viewer is asked to appreciate the arrangement and harmony of the numerous forms and is brought into the process itself. 

Orange Hill

B.F.A. Fine Art, School of Visual Arts, Korea National University of Arts, Seoul, Korea

Exchange student program, Academy of Fine art in Prague, Czech Republic

<Lorem Ipsum>, Keep in Touch, Seoul, Korea

<Modern Touch to Salad>, Rainbow Cube, Seoul, Korea

<Discovery: 12 Contemporary Artists from Korea>, Rockefeller Center, New York, NY, USA

<Combination! : Collection&Archive>, Pixelcounting, Seoul, Korea

<A Heart too small>, Kyobo Bookstore Gwanghwamun, Seoul, Korea

<Living Relation>, Namsan trekking way, Seoul, Korea

<Tips and Tricks: What world would your eyes see today?>, Kimsechoong Museum, Seoul, Korea

HaSeulLin Jeong has an interest in paintings that are located between images and materials and can simultaneously deduce the axis of time. She is a graduate of the Korea National University of Arts and the Academy of Fine Arts in Prague, where she studied Printmaking and Painting. Later, the artist deliberately leaves traces of the previous layer or creates a support structure that will be influenced by the prior and following layers of paint, resulting in visual interpretation. HaSeulLin Jeong's artwork provides the viewer with the experience of pondering for a prolonged period of time, imagining the source of the material, and sensing that the senses are real through an individual sense that is intuitive and universally shared. 

Marketplace

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Marketplace

Exhibitions

On View

About

My Page

HaSeulLin Jeong

HaSeulLin Jeong
Jeonju-si, South Korea, b. 1994

Discovery: 12 Contemporary Artists from Korea

Marketplace

Exhibitions

On View

About

My Page

HaSeulLin Jeong

HaSeulLin JeongJeonju-si, South Korea, b. 1994

Discovery: 12 Contemporary Artists from Korea

HaSeulLin Jeong
Jeonju-si, South Korea, b. 1994