Kyung Hwa Shon

Kyung Hwa Shon, A Neverland of Fragments; A Place of Wordless Things and Thingless Words, LED light and sound, 2016.
Photo by Youngha Jo

L’artista Kyung Hwa Shon esplora il rapporto reciproco tra città e immaginazione attraverso il percorso tracciato da una figura ideale denominata “Stillman”, nome che ricorda i celebri personaggi di City of Glass (New York Trilogy) di Paul Auster. Attraverso i movimenti di “Stillman” la città emerge come un spazio enorme, surreale, addirittura teatrale, in cui un senso di alterità inizia a emergere. L’artista si concentra nell’istante delle esperienze impreviste che si incontrano nella quotidianità, fattori significativi che diventano estensioni dell’immaginazione, oscillando tra finzione e realtà.
La miriade di ambigui segni e lettere catturati per strada e le immagini speculari frammentate sulla vetrina
di un negozio sono, per l’artista, elementi cruciali nella creazione di particolari rapporti con il mondo delle cose. Attraverso questi elementi, dall’infinito dell’immaginazione emerge una città insolita, disorientata e poi ritrovata. La pratica artistica di Kyung Hwa Shon si concentra sulla riscoperta dell’identificazione psicologica eteromorfica, sulla presenza dell’invisibile e di esperienze visive fantastiche emanate da serendipici momenti di glitch nella città.
L’opera implica l’apertura del paesaggio urbano a una diversa poetica della città da cui emergono mitologia, segno, simbolo, voce, testo e traccia.

Kyung Hwa Shon, A Neverland of Fragments; A Place of Wordless Things and Thingless Words, LED light and sound, 2016.
Photo by Youngha Jo

Artist Kyung Hwa Shon explores the reciprocal relation between a city and the imagination through the eyes of the imaginary character “Stillman”, name that recalls the famous characters of Paul Auster’s City of Glass (New York Trilogy). Tracing the movements of “Stillman” makes the city become an enormous, surreal, even theatrical-like space in which a sense of otherness starts to emerge. The artist focuses on the instant moment of the unanticipated experiences that are encountered in the everyday, as they are significant factors to unfold into extensions of imagination; oscillating in turn between fiction and reality.
The myriad ambiguous signs and letters in the street and fragmented specular images on shop-window displays are, for the artist, crucial elements in creating peculiar relationships with the world of things. Through these elements, the infinite boundary of the imagination unleashes the city as unaccustomed, disoriented, and reencountered. Kyung Hwa Shon’s art practice focuses on the rediscovery of psychological heteromorphic identification, the presence of invisible, and fantastic visual experiences emanating from serendipitous moments of glitch in the city.
The work implies the opening of the urban landscape to a distinct poetics of the city in which mythology, sign, symbol, voice, text, and trace occurs.

Kyung Hwa Shon, The City of Fragments, Silkscreen on paper and blue chair, 2015
Photo by the artist
Kyung Hwa Shon, The City of Fragments, Silkscreen on paper and blue chair, 2015
Photo by the artist
Kyung Hwa Shon, Visibility, Non-Visibility, Invisibility, Text with phosphorescent powder pigment, 2015
Photo by the artist
Kyung Hwa Shon, Psychogeographic Contemporary Abstract Landscapes, Acrylic, pencil, copper wire, nail on wood, 2013
Photo by the artist