形态之间 Between Forms

Atelier Aki将于2026年11月5日至12月19日举办2026年最后一场策划展《形态之间》。本次展览由千禧一代艺术家郑格林、陈智贤、崔有成参展，关注3位艺术家如何通过雕塑、韩国画、油画这些不同的媒介和各自的造型语言构建形态，以及其中蕴含的思考，由此呈现无法以1种形象界定的当代造型的多样性与灵活性。参展的3位艺术家各自以不同的媒介和创作方式，探索形态形成与变奏的过程。郑格林将线条的运动延伸为空间结构，实验功能与造型的关系。艺术家在椅子、灯具等物品的用途与线条构成的雕塑性结构相交之处，建立起独特的造型语言。陈智贤在韩纸上叠加墨与色彩，使现实与内心风景共存的场景可视化。画面中出现的鸟和月亮等形象，既是日常熟悉的对象，也是唤起记忆与情感的图像。崔有成回应身体的动作与油画颜料的物质性，调和形象与色面的关系。令人联想到具体对象的形象与自由流动的线条和色面，在画面中形成有机的关系。从不同媒介出发的3位艺术家的作品，在不把形态局限于固定外观或1种意义这一点上相通。形态由材料的特性和艺术家的选择而成，并随作品所处的空间以及每位观众的记忆和目光获得新的意义。展览标题《形态之间》中的“之间”，正是指在形态被创造和诠释的过程中产生的多样关系。本次展览希望通过3位艺术家不同的造型路径审视形态所具有的可能性，并从作品的创作过程到欣赏与诠释，拓展观看形态的视角。郑格林以线条的运动和材料的物质性为基础，穿梭于雕塑、家具与装置之间。代表作〈Mono Series〉是一条不间断的线在空间中构成造型结构的作品。艺术家顺着手的直觉弯折、延续线条，寻找节奏与平衡。原本用作工业零件的材料超越了原有功能，转化为构成形态的造型元素。线条在支撑结构的同时分割空间、流动其间，展现出有机的运动。在〈Knot Chair〉中，如绳结般缠绕的线条与椅子的结构结合。观众在认出椅子用途的同时，也会留意线条的流动与重叠，以及其间产生的空白空间。随观看位置变化的轮廓，带来把功能性物品当作雕塑对象来观看的体验。在郑格林的作品中，形态与观众的视点和移动、周围的空间建立关系，以多样的面貌呈现。陈智贤用墨与色彩在韩纸上描绘日常中遇见的生命以及与之相关的记忆。画面中出现的鸟、月亮和花源自现实风景，却因记忆与情感的叠加而带有陌生的氛围。根据艺术家手记，夜晚是白天模糊的记忆与情感、不安与希望显露出来的时间。艺术家把这些内心的动静称为“幽灵”，并将它们与可见的存在一起纳入同一片风景。在作品〈月亮与鸟群〉（2025）和〈铃兰与夜鸟〉（2026）中，熟悉的形象背后显现出无法还原为1种意义的复杂情感。墨的浓淡和渗入韩纸的色彩呈现对象的样貌，却不把其意义局限为1种。鸟与月亮与其说传达固定的象征，不如说把观众引入现实与想象相接的场景。在陈智贤的作品中，形态让看不见的情感可以被感知，并为观众留下叠加自身记忆的余地。崔有成的创作从对形态、布局和构图的造型构想出发，却不预先规定作品的最终样貌。手腕与肩膀的动作、颜料的状态、画面上已有的色彩与形态都会影响下一步判断。艺术家在绘画过程中观察产生的变化，必要时也会再次介入已经形成的关系。偶然产生的结果经过修改与选择，成为展开画面的契机。在本次展览首次发表的新作中，令人联想到人物和生命体的形象与蜿蜒的线条、有机的色面交融在一起。1个形态一旦改变，周围的色彩和空间也会显得不同，而这种变化又引向新的选择。观众的目光同样在个别形象与画面整体的运动之间往返。崔有成持续调整这些关系，在创作中寻找平衡与完成的标准。她的绘画所具有的灵活性，源于回应创作过程中新发现的可能性、并据此不断改变画面的态度。形态从何处开始，又如何具体化？3位艺术家的作品并不为这个问题给出唯一的正解，而是展示形态被创造和变化的多种可能。寻找线条平衡的手感、渗入墨色的记忆与情感、回应画面变化的判断，展示了形态在各不相同的条件与选择中具体化的过程。观众往返于立体的线与绘画的线、韩纸的墨色与画布的色面之间，即使在完成的作品中，也会发现随目光与经验而变化的造型意义。《形态之间》关注创作过程中所作的选择与欣赏过程中展开的诠释之间，提议把形态的完成视为新关系开始的起点，而不是终点。 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.