About the work
From the very beginning, the artist Chae Ji-min was concerned with the essence of painting, especially with the spatiality of painting. He opted for an irresolvable tension between the physical plane of the painted image and the receiving space. This is indeed a problem that has preoccupied countless artists in the long history of painting, and it is also an old problem that has been solved not only by artists who were concerned with representation, but also by artists who wanted to escape reproduction. And there is a well-known, uncompromising gap between three dimensions and two dimensions.
The artist's engagement with the images has gradually broadened and deepened, going beyond the expression of a sense of separation. By pushing himself between the elements that make up the canvas as a unified whole, opening up the space in between and making it visible, the artist reveals the painting itself rather than the painting as a reproduction that depicts the real object. To this end, he has organized the entire canvas around a single vanishing point, according to the linear perspective of one-point loss, and actively used elements such as figures, animals and objects on the canvas to further increase the density of the canvas composition. The elements of the work are excerpts from photographs taken by the artist from time to time over a long period of time. They represent a traffic jam that has nothing to do with each other, collecting things that from a design point of view belong to different times and spaces. The separation of the individual elements, mixed in a fixed configuration without context and lined up towards the vanishing point, further enhances the sense of heterogeneity and ambiguity.