Jihye Park,
어느 쪽도 아닌, 2025, Single channel video, 4K,
sound, color, 12min 27sec. ©CR
CollectiveCR
Collective is presenting 《On the Surface》, a solo exhibition by artist Jihye Park, on view until May 28.
In 《On the Surface》, Park’s gaze follows the
(in)visible boundaries between sky, land, and sea. In the coastal region of
Taean, these three elements are distinct yet reflect one another, creating
layered zones of ambiguity. Through the use of long takes and asynchronous structural
devices, Park investigates subtle thresholds between memory and oblivion,
sensation and thought, presence and absence.
Set
against the reclaimed tidal flats of Taean, her new video work and archival
pigment prints explore the surfaces where “human desire intersects with natural
time, where unseen histories and sedimented emotions converge.” These works
unfold across what the artist describes as “the thinnest, flattest, and yet
most sensually profound layer—a stratum where the flow of time and the
accumulation of sensation overlap.”
Jihye Park,
떠도는 시선, 반사된 표면, 2025,
2-channel video, 4K, sound, color, 12min 43sec. ©CR CollectiveThe pastoral landscape, filmed without any
camera movement, draws in distant, subtle human activity, fleeting sounds, and
the faint whisper of the wind as living components within the frame. Though the
static camera quietly lingers on a tranquil, rural scene, it soon becomes
apparent that this place may not be just a simple natural environment. From the
uneasy tension or discomfort in perception, a sensory awareness begins to
emerge, activating the viewer’s attention in the silent gaps.
Jihye Park,
경계의 지면들, 2025, Single channel video, 4K, sound,
color, 8min 19sec. ©CR
CollectiveJihye Park has long explored the structures
of relationships and the latent imbalances, violence, and ruptures within them.
In her early works, themes such as the dynamics between men and women,
fragmented desire, and the interaction of bodies served as devices to delve
into intimate psychological landscapes.
In this exhibition, 《On the Surface》, she reconfigures the boundaries between past and present, nature
and artificiality, memory and estrangement through the dissonant landscape of
reclaimed land. This is not merely a visual interpretation of a space, but a
probing inquiry into the politics of perception. The artist questions how
human-made terrains come to embody historical layers—what is spoken within
them, and what quietly disappears.
