DrawVIII_PART_II はじまりました。

Pepper's Project Exhibition
DrawVIII
PART II 　1/26mon~1/ 31sat
Solo Exhibition
Oh,Mikyung. [Mimicry in Sexuality, Home, and Self]
Pepper's Gallery
AM11:00~PM7:00(sat~PM4:00)







作品の中で、Highheels（それは見せるための、そして、所有のための対象です）は、女性になることのイメージに繋がっています。そして、彼らは、女らしさの文化的な装置として機能します。ハイヒールは最小限のスペースを占有して、そのうえ女性が弱くて無力である劇的な含みを暗示します。この時、性的関心は個人的で主観的な表現よりむしろ暴力的に見える社会制度の機能を意味します。
highheelsの女性のイメージは、パンドラの箱と同じです。神秘と誘惑のシンボルであり、女性の好奇心の対象となります。パンドラの箱を開けることを禁じられた彼女は、耐え難い好奇心によってついにそれを開けました。そして、箱のすべての悪は世界にリリースされました。
赤いhighheelsは、様々な形で女性の性的関心の概念によってなされるミステリーと脅しの再生のために使われるのです。
私の作品で、好奇心はパンドラの箱から来ている一群の悪魔のような赤い靴をはいて散らばる灰の花の茂みの煙の形に作られます。・・・・・・・・・・・・OH M I-KYUNG　オー・ミ・ギョンのSmoking Womanシリーズより。





Smoking Woman: Thinking about Sexuality and Space

"An amazing dream covers me.
I walk, letting birds fly away.
All I touch is in myself.
I have thrown away all the limitation."
- Jean Bastille's Poem, Air and Dream, Bachelard

In the "Air and Dream" written by Bachelard, the finality of imagination is Jonah complex. It is the image made in our unconsciousness when we were in our mothers' wombs, and it is that we feel comfortable and peaceful when we are in certain space as if we were covered by it. A woman's womb as a container has been handled in my previous works, and the red shoes appearing together with the womb show the materialistic property of things, instead of the womb, and they function as a guide in reality.
Highheels, which are the object for display and for ownership, emphasize that to become a woman is to become an image and they function as a cultural device of feminity. High-heeled shoes occupy the minimum space and also connote the dramatic implication that women are weak and powerless. At this time, sexuality performs the function of a social system of seeing through violence rather than the private and subjective expression. It is true that natural or idealistically perfect space doesn't exist. Nevertheless, human sexuality of today is not natural because we, who reside in memories, fantasy, and unconscious forms under symbolical and media-concentrated environment, don't belong to the sexuality that can be called natural and instinctive process.

From the iconographic viewpoint, the feminine image of shoes can be regarded same as Pandora's box. The shoes get to have the characteristics of mystery and temptation through Pandora's associative action. Two motives that become the center of Pandora's iconography and are peculiar in the mythical thought are the mysterious feminity which is hidden behind the mask of temptation and the woman's curiosity that is dangerous enough to violate something (Laura Mulvey). It was forbidden to open the box, but she yielded to her curiosity and finally opened it. So, all the evils in the box were released to the world and only a piece of hope remained in it. The red highheels can be used for the reproduction of the mystery and threats that are made by the concept of women's sexuality in patriarchy.
If shoes are fetish and reproduce women's sexuality by transposing it with mystery and threat, my curiosity can be interpreted as curiosity for the mystery of personifying myself like Pandora's curiosity for the contents in the shoes. And my desire can be re-interpreted as self-reflective desire of searching feminity itself. In my works, this curiosity is shaped into the smoke of a bush of ashy flowers that is scattered in the red shoes like a group of devils coming from Pandora's box. The fixed stare at the red highheels as a fetish target of attracting eyes remains a mystery like Pandora's box as a symbol of having the memory of uneasiness while women's sexuality is idealized in imagination and it becomes excessively significant.
The form of a human being whose legs only are totally exposed becomes an unsafe being through the smoke of nothingness (Sexuality and Space: House, Jeong Sang-Hee, Preface of An Exhibition, 2008). The consistency of fetishism as a fetishistic target of red shoes and legs shows a fiction of sexuality. In the reduced space of red highheels as a guide in reality, it is expanded into the space for the smoke and the gas that transiently disappear like the bush of grayish flowers. It may be the way of occupying space that I have dreamed of (memories and self-consciousness disappear). Space is disappearing time. Time is flowing space. The space of various styles that we live in and experience creates the way we live in space. And to choose the space is our role.

- 2008 Oh Mi-kyung, Smoking Woman, Work Note

OH M I-KYUNG
Solo Exhibitions
2008 Smoking Woman (gallery Haru, Cheju)
2008 Sexuality and space: House (Gana art space, Seoul)
2007 Sexuality and Myth: Looking for my house ( Insa Art Center, Seoul)
2004 The portrait of Arachne (Lamer gallery, Seoul)
Group Exhibitions
2008 Park (BankART NYK, Japan)
2008 Chilshipri festival (Seoghipo, cheju)
2008 Transfer (Gallery Ho, Seoul)
2007 Hasla art world workshop: Eating Art (Hasla arts world, Kangneung)

Education & career
Ewha woman's University department oriental painting
Hongik University Graduate school Art theory course
Ewha woman's university Education graduate school art education
Samsung Rodin gallery docent
Kyunggi culture Foundation arts workshop lecturer
Ewha Woman's university welfare center Art program lecturer




最終日1/31(土)　14:00~16:00にささやかなクロージングパーティーを予定しています。
ぜひ!!!!!!!!