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2. 《999908262022》 전시 전경, 푸시 투 엔터, 2022. 출처_ 푸시 투 엔터, 촬영_ 이시우.jpg


26 August - 25 September, 2022

Hyunmin Cho feels as if she were painting self-portraits whenever she creates paintings. Such self-portraits, though, are not merely limited to physiognomy. Each of the formal elements on the canvas, so-called ‘dots’, is rather linked with her mind. Naming a painting after the date and time of putting a last dot is almost the artist’s ritual-like way of providing coordinates to the dots drawn on one canvas. Considering the invisible link of ‘dot‒mind’, we would soon find out that these coordinates don’t have the origin. They instead indicate that various relationships have been in existence between dot and mind, flowing between them. Cho’s paintings are, transitive.

The title 《999908262022》 denotes August 26th, 2022 at 99:99, a time that doesn’t exist. If time ever collapses and clocks display 99:99, relationships of all kinds would vanish. Everything is always already a product of time. As projected via two identically synchronized clocks that eventually fall out of sync ¹, any relationship is a result of dialectic entanglement between what’s past and what’s to come. Thus, relationships are essentially incomprehensible. They could only be perceived through layers and layers of time built upon one another. What’s to come – when you push to enter the gallery and see the set of ten paintings and alongside writing in the gallery - is uncertain. Floating in and out of canvas, Cho’s dots come in waves that cut across time, space, and the viewer’s mind.

¹ Félix González-Torres, “Untitled” (Perfect Lovers), 1987-1991.

Born in Seoul, South Korea in 1992, Hyunmin Cho completed her BFA in fashion design at Kookmin University, Seoul. During her stay in the United Kingdom between 2018 and 2019, Cho started applying painting media (color pigments, colored pencils, pencils, oil crayon, acrylic, and spray) to surfaces of various textures. The abstract clusters appearing throughout her oeuvre are simultaneously screenshots and archives of fluid emotions.

Written by Hayeon Heather Kim (Independent Curator)

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