Jang Jin's Moonlight Prism

The Naturally Intentional Traces Reverberating under the Moonlight

- the cycle for synchronous beings -

It has readable space and time in the momentary landscapes in the extreme looked on passing by the crowd and the wooded forest. None of the strict form, silhouette and even boundary goes into the landscape. However, the senses of depth and afterimage manifest more powerful agency only in the passing pace. Jang Jin's painting has the earnest power of influence absorbing the surroundings, despite without drawing boisterously provocative attention.

Sanghee Jung (Art Critic)

Jang Jin's painting is gradually completed with endless disintegration and oneness of space and time penetrating a prism. As if light retractively waves in the boundary with the medium of air and glass, a stream of consciousness swiftly gets over the boundary through the medium of action and time in the moments of union and disunion of the bottom plate and papers. It means that inevitability and the past stream toward contingency and the present in the medium of action and time.

A Circulation of Necessity and Fortuity is expanded in his action per se and process. It makes progress in consensus moments between pure labor actions and ideas and consists of extremely conceptual, experimental, dynamic stages. Jang enjoyably and repeatedly pours paint paste on the bottom plate, rubs and draws forms and lines on the surface and then erase them. Until forms and lines on the plate put a paper in print, the painting can not get a basic shape. And then scattered moisture and colors intervene in the final stage for the painting. The end of the processing journey to stress and then erase his own traces is finally gained in the moments without any intentional trace. It is like the technique of abstract expressionist allowing thinned paint to soak into the raw canvas, called 'soak stain'.

The painting looks like the translucent landscapes of piled-up sheer texture blowing around. The smooth streams of physical properties originate sort of illusionism of depth. For a fleeting moment, the painting would appear that these have compliance with something traditional and passiveness in an innovathon. It is more important, however, deeply getting to know jang's intention that to leave vacant is more beautiful and honest ways than to fill up in the whole understand ng of his paintings. All of actions and processes of drawing, painting and erasing to get compositive results through the ways deleting complexities should look through to be a part of his own art.

The process of actions embraces subconscious Experiences of Space and Time. The senses of space and time can meet with movements and looseness and tenseness respectively. Every proceeding has specific structure space and time work up but it is hard to reveal the looks consciously. It is because the results appear to be an accidental effects at improvising out of accustomed visualities.

The contingency of Jang Jin's works, like of an interesting impromptu poem, reflects the creative function of subjective simulation like in the symbolic features of languages. To paint with specific tools and media is equal to write something. Chomsky mentioned that what language can get revolutionary functions in even its slightest usage is for the action of subjective simulation creating meanings. As if to show and to write about one petal on the ground cause diverse interpretations and understandings according to the subjective simulation, Jang Jin's moonlight prism creates abundant stories on the flexible subject and object.

Based on Instant and Phenomenal Synchronicity, Jang Jin creates absolutely new ones with the motive of essential indeterminacy. The instant synchronicity meaning coexistence of the past and the present is visualized to be abstract forms under the present cognition which puts up, takes apart and draws out nostalgical memories. The abstract concept in his painting is not to stress the lack of contents, but to show spatial and time stories of the past and the present. Jang brings sort of paste painting and scratch techniques from his childhood for the painting. It is the moment to meet the purest experience in the past and another experience in the present. The synchronicity of existing past and present is in the middle of the intention to bring beings lost to the present.

Moreover, the phenomenal synchronicity indicates kind of organic forms focused on the modern function of homogeneous images and pellucid unconscious expressions under opaque consciousness at the same time. It is one of the ways to explore our present between the others' and our past. It means that he searches the absolute coincidence with his arts like the events happened by totally separated causes and effects. It is seen as life in the dimension of organism being changed in terms of natural selection and adaptation under regularity and repetition. Based on the regularity and repetition, the modernly visual function of images lasts and, as a result, the phenomenal synchronicity is stressed with contemporary means, unconsciousness and fortuity.

Jang puts obvious natural existences, such as moonlight, cloud, star, mountain, tree, rock, river, and a human being, in his limited spaces with the subjective ways and actions. And then the existences make their obscure, intentioned appearance. The necessity and the fortuity, the space and the time, and the instant and phenomenon are on the itinerary from the natural to the intentional. The boundaries in the journey are determined as the very actions. The journey departing from the perfectly necessary world enters fleetingly to the accidental one and then finally meets the world of certainty. In this way, Jang Jin's painting has a place of naturally intentional results in the journey and boundary between the intentional and the natural. ■