If the skin has emotion 2011 72.5 x 60.5 cm

If the skin has emotion 2011 oil on canvas 65.5 x 53 cm

If the skin has emotion 2014, 145.5 x 112 cm

If the skin has emotion 2015 145.5 x 112 cm

If the skin has emotion 2015 162 x 224 cm

If the skin has emotion 2013 oil on canvas 145.5 x 97 cm

If the skin has emotion 2014, Oil on canvas, 162 x 112 cm

Eclipse Seoul Museum of Art 2014

Eclipse 2014, steel, motor, gears, FRP 900 x 230 x 40 cm, 2piece

Jung Sungyoon says "Eclipse" can be compared to an encounter. When you meet a person, you expect to see something bright and clear about the person but actually experience nothing but being left out in the darkness. He also says that while eclipse, light of stars tends to occur from the darkness behind the sun by gravitational pull.

In astronomy, "Eclipse" is a phenomenon that one celestial body hiding the other body or entering to its shadow. Solar eclipse, the typical Eclipse, is a phenomenon that the moon covers the sun by moving in between the sun and Earth. The moon is superimposed on top of the sun and the people will experience a dramatic darkness under the daylight.

The etymology of eclipse tells that this is not just a matter of covering something. Abandoned, downfall, all existence come to a stop……. situation can be imagined when the humanity experienced the darkness by first time. They might have thought the world was over. Which was actually a rotary motion going through an unimaginable darkness……. Perfect darkness wipes out everything. Not even self-conscious, but also the memory of existence. - Park Sangmi

Eclipse 2014, steel, motor, gears, FRP 900 x 230 x 40 cm, 2piece

The Force that causes solar eclipse is a cosmic scale way beyond human imagination. It's a level which human cannot intervene or manipulate. It is reckless for human to reproduce such appearance. In Jung Sungyoon's “Eclipse", Black sun and black moon splits and meets again by the action of machinery equipment.

They Spin Like Nonsense, 2015, steel, aluminum, motor, billiard balls 21 x 320 x 10 cm

Machine does not have a heart. Like the heart of a person who lost love.

is made of 49 black billiard ball. (These balls are the size of 4-ball billiard, but black colored 4-balls usually do not exist.) Ball rotates on top of the 49 pieces of roller in different directions and it barely contacts each other without any device. Like 'the most intense and the most fragile relationship', they contact their body to fulfill an apparent straight line but its essential connection is always at stake.

Like the title from the depiction of men and women dancing, each ball is performing senseless rotation which is similar to the pattern of relationship that we make. 49 is a remainder obtained by subtracting one from 50. Less than half is what is left after the lost love, and 49 balls is a symbol of it. If we love by heart, with a whole heart, lost love would not even come close to be 'a heart'.

Squares 2016, steel, motor, plastics 200 x 270 x 90 cm 2piece

Shapes 2016, steel, motor, plastics 400 x 270 x 90 cm 3 pieces

Eclipse (653) 2014, steel, motor, gears, plastic 1200 x 420 x 120 mm

Jung Sungyoon's “Eclipse" is a represented eclipse. Therefore, it is superior than the sun. Faithful to its duty, this shoddy eclipse machine moves without any mistake. It also does not know how to think or stop. It clearly shows that this is not a real eclipse, but still does its role honestly. Humans think something like symbol, metaphor, and rhetoric makes the richness of representation. Jung Sungyoon's machine is the opposite. There is no rhetoric, metaphor or symbolism but a silent machine doing its job. The performance of silent working machine has created beauty. - Youngjun Lee

Eclipse 2014, 2015, steel, motor, gear, plastic 190 x 120 x 120 cm

Hello Motors, mixed media, 70 x 75 x 27 cm , 2010

Sungyoon Jung’s work ultimately prompt viewers to ponder on humans’ traumas of losing their identities by depicting the circular path of the beginning, expansion, and end of desire and trust through devised mechanical instruments.

Through the operating mechanisms of mechanical devices represented like a paradoxical theater of the absurd, he has explored the conditions under which such circular systems are presented. Major exhibitions include 《Eclipse》(2014) based on the Seoul Museum of Art Emerging Artists Support Grant and 《Minor Threat: Shapes》(2016) at the Kim Chong Yung Museum. As for residency programs, he has participated in the SeMA Nanji Residency during 2012-13.

Sungyoon Jung

0121-1110=110028, Wood, 230 x 146 x 110 cm, 2010

Some of his wooden sculptures might appear as though the spaces between the trunks have been filled in with a black substance but this is merely due to the effects of charring and shadows. To apply a finishing touch to his wood and nails sculptures, Jaehyo Lee first burns the materials and then sands down the exposed faces to create a high contrasting colours.

0121-1110=195041, Wood, 200 x 200 x200 cm, 1995

Lee Jae Hyo has been creating wood masterpieces since 1990s. Lee was born in 1965 in Hapchen, Korea. He graduated from Hong-ik University with a Bachelor Degree in Plastic Art. He assembles natural materials such as wood pieces, branches and leaves, and iron nails into three-dimensional works which not only hold elegant forms but also convey a strong contemporary mood.

He has held many solo exhibitions in Korea, Japan, China, the United Kingdom and the United States. He won a number of honors, including Grand Prize of Osaka Triennial (1998), Young Artist of the Day presented by the Ministry of Culture of Korea (1998) and Prize of Excellence in the 2008 Olympic Landscape Sculpture Contest. His works are widely appreciated and adored by art collectors all over Asia, Europe and America.

0121-1110=196061, Wood, 200 x 200 x200 cm, 1996

"My art is about the material," says Lee. "Everything begins and ends with the material. I simply want to show the nature of my common raw materials like wood and nails." His creative concern is "to discover a different way to present common materials." Obviously, he has succeeded in this area

0121-1110=111083, Wood, 246 x 96 x 68 cm, 2011

0121-1110=1140810, Wood, 130 x 130 x 47 cm, 104 x 106 x 85 cm & 105 x 102 x 85 cm, 2014

0121-1110=116048, Wood, 200 x 120 x 125 cm, 2016

0121-1110=104071, Wood, 70 ~ 240 cm, 15 pieces & 120 x 120 x 520 cm, 2004

0121-1110=110092, Wood, 208 x 147 x 102 cm, 2010

0121-1110=102101, Wood, 350 x 350 x 350 cm, 2002

“I want to express the wood’s natural characteristics, without adding my intentions.”

“Though I may take my time to create my pieces, though I may be an artist behind the times, this is who I am. … I’m just doing the work that fits me well, thus here I am still hammering away in this digital age.”

“The globe is the simplest form that demonstrates the wood’s original energy; no corners, no angles, and the same shape from whichever side you look at it. I like to make the most out of the material’s inherent feeling.”

0121-1110=107077, Wood, 350 x 170 x 90 cm, 2007

Working with wood and metal, Jaehyo Lee produces immaculately formed, intricate sculptures that reveal a mastery of his materials and a winking, sophisticated wit. Lee eschews traditional distinctions between the fine and applied arts and makes both functional and functionless works, presenting benches, stools, and tables alongside abstract, biomorphic forms.

Burnt-black wood often serves as the sculptural ground into which Lee embeds discs of fresh wood or bent steel bolts and nails. His wood-on-wood combinations read as playful meditations on the multifaceted nature of wood itself, while the nails that often cover his wooden surfaces seem transformed into worms or spermatozoa—recalling a slithering, energetic galaxy of organisms. Korean, b. 1965, Hapcheon, South Korea

Jaehyo Lee