A Way Not to Slip 2, 2023
Carving on linoleum
Dimension variable
A Way Not To Slip 2 (#1-5)(2023) by Jeong is long cut-out pieces of gray linoleum with abstract patterns engraved on it by a carving knife, placed in the space like objects implying a consistent set of direction. Jeong, while looking at the patterns on shoe soles, became interested in physical effects arising from their collisions with the patterns of pavements. In a way it is a persistent delusion about the phenomena that imply physical movements of a force, like a heavily worn-out part of a shoe or small stones firmly stuck in the gaps in sole patterns.
The artist allows us to imagine: the movement of force or conversion of certain physical figures that emerge when the ground surface covering gravity meets the shoe sole erecting the body from gravity, and something like the body of a vast world that delays changes which is like a persistent axis against a series of drifts. This unfolds in a very paradoxical circumstance; for example, the shape of the new “object” she proposed occupies its position temporarily while enduring formal shifts under an architectural structure, rather than existing autonomously. Often she has spread the linoleum boards made from such a background in site-specific places or on gallery floors and erected anonymous bodies on it, conceptually attempting a transference of spatial status where the ground surface and sole surface are reversed. In other words, by taking the physical phenomena of shoe soles and suggesting them as ground pavements facing the opposite direction, she makes the bodies erect in the three-dimensional space reflect the same bodily figures into the space on the other side.
In this exhibition, rather than focusing on re/arranging such pairs of physical space, she elongated this arbitrary plane and suggested it as an organismic form that moves along the skeleton of the temporary structure. One could say she presented an imaginary capacity where a threedimensional coordinate keeps changing its up-down-left-right and reconfigures its space as a three-dimensional form, that is, where a flat plane manages to construct an invisible space within the movement of a certain physical force.
excerpted from the exhibition text
"Heart towards Invisible Things" written by Soyeon Ahn