Storage – Lost and Found (Holding onto images deep inside)
Chung’s theme of work is to gather the passing of time and its’ imprints. All things trivial eventually leave an expression, repeating their creation and extinction. The process is to look back on the remaining traces of time.

The artist accumulates signs of life as seen through his own perspective, into his subconscious. He would gauge the relative merits on a canvas with ideas, just as a film director would view slides of film on a projector screen. During this time he plots the conflict between incidental elements and planned elements. This is not an expression of intellectual logic.

The purpose is to frame an image, buried deep inside the memories of the artist. This gesture, a personal expression of concern, is a formality of self-effusion.

- It is yet an amusing game to modulate the relationship between reason and instinct, from which derives from their own opposition as well. -
- The logic and determination of “completion” and “conclusion” is merely a single moment that exists in the human consciousness. -

The artist is curious and shows affection to the less completed, unstable or even questionable. In this sense he believes the incomplete landscape finds a place to exist without courtship. He looks back into “existence”, and organizes phases out of his deepest memories, as he randomly places them on a framework, a screen.

His canvas is often thick textured, curious about the unremitting properties of the medium. It might lead you to think he is staging the foundation itself to become a drawing. He portrays his metaphor through the process of dripping, staining, and repainting as it gradually leads to completion.

- Tattered and tarnished traces that life seems to leave behind becomes yet another landscape by his meaningless brush strokes, evoking others by his emotional tone. -

Courtesy of Gahoedong 60