形態のあいだ Between Forms

アトリエ・アキは2026年11月5日から12月19日まで、2026年最後の企画展《形態のあいだ》を開催する。ミレニアル世代の作家チョン・グリム、チン・ジヒョン、チェ・ユソンが参加する本展は、彫刻、韓国画、油彩という異なる媒体とそれぞれの造形言語を通して、作家3人が形態を構築する方法とそこに込められた思索に注目し、それによって単一の形象では規定できない同時代の造形の多様性と柔軟性を照らし出す。参加する3人の作家は、それぞれ異なる媒体と制作方法をもとに、形態が形成され変奏される過程を探究する。チョン・グリムは線の動きを空間の構造へと広げ、機能と造形の関係を実験する。作家は椅子や照明などのモノの用途と、線がつくる彫刻的構造が交差する地点で独自の造形言語を築く。チン・ジヒョンは韓紙に墨と色を重ね、現実と内面の風景が共存する場面を可視化する。画面に登場する鳥や月などの形象は、日常のなじみ深い対象であると同時に、記憶と情緒を呼び起こすイメージとして働く。チェ・ユソンは身体の動きと油絵具の物性に反応しながら、形象と色面の関係を調整する。具体的な対象を連想させる形象と、自由に流れる線と色面は、画面の中で有機的な関係を形づくる。異なる媒体から出発した3人の作品は、形態を固定された外形や1つの意味に限定しないという点で通じ合っている。形態は素材の特性と作家の選択によってつくられ、作品が置かれる空間や観客それぞれの記憶、まなざしによって新たな意味を得る。展覧会タイトル《形態のあいだ》の「あいだ」とは、このように形態がつくられ解釈される過程で生まれるさまざまな関係を意味する。本展は3人の作家の異なる造形的アプローチを通して形態のもつ可能性を見つめ、1つの作品がつくられる過程から鑑賞と解釈に至るまで、形態を見る視点を広げようとする。チョン・グリムは線の動きと素材の物性をもとに、彫刻と家具、インスタレーションを行き来する。代表作〈Mono Series〉は、途切れることのないひと続きの線が空間の中で造形的構造をなす作品である。作家は手の直感に従って線を曲げ、つなぎながらリズムとバランスを探っていく。産業用部品として使われていた素材は、本来の機能を超えて形態を構成する造形的要素へと転換される。線は構造を支えると同時に空間を分かち、流れながら有機的な動きを見せる。〈Knot Chair〉では、結び目のように絡み合った線が椅子の構造と結びつく。観客は椅子の用途を認識しながらも、線の流れと重なり、その間に生まれる空白に目を向けることになる。見る位置によって変わる輪郭は、機能的なモノを彫刻的な対象として見る経験をもたらす。チョン・グリムの作品において形態は、観客の視点や動き、周囲の空間と関係を結びながら、さまざまな姿で迫ってくる。チン・ジヒョンは日常で出会った生命とそれにまつわる記憶を、韓紙の上に墨と色で描き出す。画面に登場する鳥や月、花は現実の風景に由来するが、記憶と感情が重なり、見慣れない雰囲気をまとう。作家ノートによれば、夜は昼の間かすかだった記憶や感情、不安と希望が姿を現す時間である。作家はこうした内面の気配を「ゴースト」と呼び、目に見える存在とともに1つの風景の中に描き込む。作品〈月と鳥の群れ〉（2025）と〈スズランと夜の鳥〉（2026）では、見慣れた形象の向こうに、1つの意味には還元されない複合的な情緒が現れる。墨の濃淡と韓紙にしみ込んだ色は、対象の姿を現しながらもその意味を1つに限定しない。鳥と月は固定された象徴を伝えるよりも、現実と想像が触れ合う場面へと観客を導く。チン・ジヒョンの作品において形態は、目に見えない感情を感じ取れるものにし、観客が自身の記憶を重ねて見る余地を残す。チェ・ユソンの作品は、形態や配置、構図についての造形的構想から出発するが、作品の最終的な姿をあらかじめ規定しない。手首と肩の動き、絵具の状態、画面に置かれた色と形が次の判断に影響を与える。作家は描く間に生じた変化を見つめ、必要であればすでにできあがった関係にも再び介入する。偶然生まれた結果は、修正と選択を経て画面を展開するきっかけとなる。本展で初めて紹介される新作では、人物や生き物を連想させる形象が、うねる線や有機的な色面と調和する。1つの形態が変わると周囲の色や空間も違って見え、その変化はまた別の選択へとつながる。観客のまなざしもまた、個々の形象と画面全体の動きのあいだを行き来する。チェ・ユソンはこうした関係を絶えず調整しながら、バランスと完成の基準を作品の中に見いだしていく。彼女の絵画がもつ柔軟性は、制作過程で新たに見いだされる可能性に反応し、それに応じて画面を絶えず変化させる姿勢から生まれる。形態はどこから始まり、どのように具体化されるのか。3人の作家の作品は、この問いに1つの正解を示すよりも、形態がつくられ変化していくさまざまな可能性を見せてくれる。線のバランスを探る手の感覚、墨の色にしみ込む記憶と情緒、画面の変化に応える判断は、形態がそれぞれ異なる条件と選択の中で具体化される過程を示す。観客は立体の線と絵画の線、韓紙の墨色とキャンバスの色面を行き来しながら、完成した作品の中でもまなざしと経験によって変わる造形の意味を発見する。《形態のあいだ》は、創作の過程でなされた選択と、鑑賞の過程で開かれる解釈のあいだに注目し、形態の完成をひとつの終着点ではなく、新たな関係が始まる地点として見ることを提案する。 Installation of ‘Between Forms’ at ATELIER AKI, Seoul, 2026. ATELIER AKI is pleased to present 《Between Forms》, its final curated exhibition of 2026, on view from November 5 through December 19. Bringing together three millennial-generation artists, Greem Jeong, Jin Jihyun, and Yuseong Choe, the exhibition explores how each artist constructs form through distinct mediums and visual languages spanning sculpture, traditional Korean painting, and oil painting. Through their individual approaches to form and the ideas embedded within them, 《Between Forms》highlights the diversity and fluidity of contemporary artistic expression, which resists definition through any singular form. The three participating artists explore the processes through which forms emerge and evolve, each drawing on distinct mediums and creative practices. Greem Jeong extends the movement of lines into spatial structures, exploring the relationship between function and sculptural form. Her practice develops a visual language at the intersection of an object's practical function, such as that of a chair or lighting fixture, and the sculptural structures created through lines. Jin Jihyun layers ink and color on traditional Korean paper (hanji) to create scenes in which external reality and inner landscapes coexist. Recurring motifs such as birds and the moon serve both as familiar elements of everyday life and as images that evoke memory and emotion. Yuseong Choe responds to bodily movement and the material qualities of oil paint, negotiating the relationship between recognizable forms and fields of color. Shapes that suggest identifiable objects interact with freely flowing lines and areas of color, forming organic relationships within the pictorial space. Despite their differences in medium and approach, the three artists share an understanding of form as something that cannot be confined to a fixed appearance or singular meaning. Form emerges through the properties of materials and the artist's decisions, acquiring new meanings through the space in which the work is presented and the individual memories and perspectives of its viewers. The notion of “between” in the exhibition title, 《Between Forms》, refers to the diverse relationships that arise throughout the processes of forming and interpreting visual forms. By bringing together three unique approaches, the exhibition examines the possibilities inherent in form and seeks to broaden the ways in which it may be perceived, from the process of a work's creation to its experience and interpretation by the viewer. Greem Jeong works across sculpture, furniture, and installation, drawing on the movement of lines and the material qualities of her chosen mediums. Her signature 《Mono Series》 explores how a single, continuous line can form a sculptural structure within space. Guided by the intuition of her hands, Jeong bends and extends lines, gradually discovering rhythm and balance. Materials originally intended for industrial applications are transformed beyond their functional purposes into sculptural elements that define form. These lines simultaneously support the structure, divide space, and flow through it, revealing a sense of organic movement. In 《Knot Chair》, interwoven lines resembling knots are integrated into the structure of a chair. While recognizing the object's familiar function, viewers are invited to observe the flow and overlapping of lines, as well as the negative spaces that emerge between them. The shifting contours, which change according to the viewer's position, offer an opportunity to experience a functional object as a sculptural form. In Jeong's practice, form reveals itself in multiple ways through its relationship with the viewer's perspective and movement, as well as the surrounding space. Jin Jihyun depicts living beings encountered in everyday life and the memories associated with them through ink and color on traditional Korean paper (hanji). Birds, moons, and flowers emerge from familiar landscapes, yet take on an unfamiliar atmosphere as layers of memory and emotion intertwine. As described in her artist statement, night is a time when memories and emotions that remain faint during the day, along with anxieties and hopes, begin to surface. Jin refers to these traces of her inner world as “ghosts,” bringing them together with visible beings within a shared landscape. In works such as 《The Moon and a Flock of Birds》(2025) and 《Lily of the Valley and the Night Bird》(2026), familiar forms evoke complex emotions that resist any singular interpretation. The subtle gradations of ink and colors absorbed into the hanji reveal the subjects while leaving their meanings open to interpretation. Rather than conveying fixed symbolic meanings, the birds and moon invite viewers into scenes where reality and imagination converge. In Jin's practice, form gives perceptible presence to otherwise invisible emotions, creating space for viewers to bring their own memories into the work. Yuseong Choe begins her practice with formal considerations of shape, arrangement, and composition, yet does not predetermine the final appearance of a painting. The movements of her wrist and shoulder, the consistency of the paint, and the colors and forms already present on the canvas all inform her subsequent decisions. Throughout the painting process, Choe responds to emerging changes, revisiting and reworking existing relationships when necessary. Unexpected outcomes become opportunities for further development, shaped through successive acts of revision and selection. In her new works, presented for the first time in this exhibition, forms suggestive of human figures and living beings intertwine with undulating lines and organic fields of color. As one form shifts, the surrounding colors and spaces are perceived differently, prompting further decisions. The viewer’s gaze likewise moves between individual forms and the overall movement of the composition. Through this continuous negotiation of relationships, Choe discovers her own sense of balance and resolution within the painting process. The fluidity of her paintings emerges from an openness to possibilities revealed through the act of making, allowing each composition to evolve in response to what unfolds on the canvas. Where does form begin, and how does it take shape? Rather than offering a single answer, the practices of the three artists reveal the diverse possibilities through which form emerges and transforms. The intuitive movement of the hand in search of balance, memories and emotions absorbed into layers of ink, and decisions made in response to changes on the canvas each illuminate how form takes shape through distinct conditions and choices. Moving between lines in three-dimensional space and those on a painted surface, between the tonal variations of ink on hanji and fields of color on canvas, viewers are invited to discover how the meaning of form continues to shift according to their perspectives and experiences, even within a completed work. 《Between Forms》 draws attention to the relationship between the choices made during the creative process and the interpretations that emerge through viewing. In doing so, the exhibition proposes that the completion of a form be understood not as a final destination, but as a point from which new relationships begin. Installation of ‘Between Forms’ at ATELIER AKI, Seoul, 2026. Installation of ‘Between Forms’ at ATELIER AKI, Seoul, 2026. Installation of ‘Between Forms’ at ATELIER AKI, Seoul, 2026. Installation of ‘Between Forms’ at ATELIER AKI, Seoul, 2026. Installation of ‘Between Forms’ at ATELIER AKI, Seoul, 2026.