https://jaeyeolhan.com Jaeyeol Han | Contemporary Painter Tue, 20 Oct 2026 10:28:00 +0000 https://jaeyeolhan.com en https://jaeyeolhan.com/Front-Page Wed, 08 Apr 2020 18:28:36 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/Front-Page <img width="3240" height="1978" width_o="3240" height_o="1978" data-src="https://freight.cargo.site/t/original/i/97d2557ac29c3b860ca0abf1262513953dd1160b39a6015a9937175cf819e27d/003-copy.jpg" data-mid="251572965" border="0" src="https://freight.cargo.site/w/1000/i/97d2557ac29c3b860ca0abf1262513953dd1160b39a6015a9937175cf819e27d/003-copy.jpg" />「Triptych」&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Bystanders, Three Bodies&nbsp; &nbsp; 220 × 570 cm, 86 5/8 × 224 3/8 in&nbsp; &nbsp; Oil and Pigment Bar on Canvas&nbsp; &nbsp; 2025&nbsp; &nbsp; &nbsp; &nbsp;Berlin <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/3dafc2f520fb1bb10a66d0047232d02b3f4f6b7371619d737b213306e5a09352/02_4_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" data-mid="251572886" border="0" src="https://freight.cargo.site/w/1000/i/3dafc2f520fb1bb10a66d0047232d02b3f4f6b7371619d737b213306e5a09352/02_4_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" /> <img width="3000" height="4500" width_o="3000" height_o="4500" data-src="https://freight.cargo.site/t/original/i/1ce9c147f9ede1fb7a937e8d5b9e7e019d53924ef49f15a7e78a6c8a5f181471/three-bodies-4--height-220-x-width-190-cm.jpg" data-mid="251573186" border="0" src="https://freight.cargo.site/w/1000/i/1ce9c147f9ede1fb7a937e8d5b9e7e019d53924ef49f15a7e78a6c8a5f181471/three-bodies-4--height-220-x-width-190-cm.jpg" /> <img width="4000" height="1412" width_o="4000" height_o="1412" data-src="https://freight.cargo.site/t/original/i/7ee39c49aa921e2d2fb09c880b2c137051ded7ec7a712d3b1cb901cd71eec029/-Quadtych--Bystanders--Youth_2024--220x760cm--Oil-on-Canvas--.jpg" data-mid="219100733" border="0" src="https://freight.cargo.site/w/1000/i/7ee39c49aa921e2d2fb09c880b2c137051ded7ec7a712d3b1cb901cd71eec029/-Quadtych--Bystanders--Youth_2024--220x760cm--Oil-on-Canvas--.jpg" />「Tetraptych」&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Bystanders, Youth&nbsp; &nbsp; 220 × 760 cm, 86 5/8 × 299 1/4 in&nbsp; &nbsp; Oil and Pigment Bar on Canvas&nbsp; &nbsp; 2024&nbsp; &nbsp; &nbsp; &nbsp; Berlin “It will finally have suggested that between the 'dignity' proper to man and the baseness that leads him to exterminate his own kind, two tasks are ultimately assigned to us: to recognize in the other, even when he seems to us the most strange and the most alien, a similitude, and at the same time to recognize in ourselves, whatever it may be, an 'obstinacy in the negative existence' that no limit can contain. As if 'hoping to see one man' could not proceed without the cruel question of the inhumanity 'that man has inflicted on man' throughout history.” -Georges Bataille, Humanity (Verso, 1986), p. 22. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/f5724a721361eaf5033576907bc518568eb6c8b2abc922091b5790643a158735/IMG_6618-2.jpg" data-mid="203925851" border="0" src="https://freight.cargo.site/w/1000/i/f5724a721361eaf5033576907bc518568eb6c8b2abc922091b5790643a158735/IMG_6618-2.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/36d618b19a9c56730c456fecb4a449079856dbeb1ad7787b9701e1b7d002131f/IMG_6619-2.jpg" data-mid="203925852" border="0" src="https://freight.cargo.site/w/1000/i/36d618b19a9c56730c456fecb4a449079856dbeb1ad7787b9701e1b7d002131f/IMG_6619-2.jpg" /> https://jaeyeolhan.com/Bystanders-Three-Bodies Tue, 25 Aug 2026 21:41:44 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/Bystanders-Three-Bodies Bystanders, Three Bodies— Project Bystanders Triptych 2025Oil and Pigment Bar on Canvaseach 220 × 190 cm (86 5/8 × 74 3/4 in); overall 220 × 570 cm (86 5/8 × 224 3/8 in) (HxW) Courtesy of the Artist, Berlin Case Study: Three Bodies (2025) Jaeyeol Han’s Bystanders, Three Bodies presses red fields, dark lines and entangled limbs across three canvases measuring 220 centimetres high and 570 centimetres wide overall. At close range, ridges and shifts in density give the paint the weight of flesh. From a distance, however, one contour becomes the beginning of another body. The title proposes a count, but the figures refuse to confirm it. Only the three panels remain discrete; within them, bodies gather and disperse between singular and plural states. This delay in recognition is not a defect of description. The viewer follows outlines, faces and gendered cues in an attempt to assign each limb to an individual body. Yet arms and legs cross one another’s territories, while figure and ground are separated only provisionally by different concentrations of the same red. Relation does not arise between completed individuals. Contact, pressure and overlap come first, and a body temporarily coagulates within them. In the chapter “Double Bodies” in Burning Images, Florian Göttke extends the genealogy of the king’s mortal body and enduring political body developed by Ernst Kantorowicz, tracing how a corporeal person acquires another existence through public images and surrogates. Read alongside Judith Butler’s critique of the division between private bodily life and public appearance, this genealogy raises a further issue: the conditions under which a body becomes recognisable and publicly present are not shared equally. In Han’s work, a corporeal body moves through the body of a source image and into a painted, material body, but does not settle in any of these forms. These figures should not therefore be described as political effigies. More precisely, the painting stages how one body is multiplied across media, social signs and acts of looking. The surface functions like an imago that summons an absent presence without returning its name. The bodies have scale, weight and density, yet the viewer cannot restore who they are, where they are or what has happened. Han does not explain the source image. He compresses and dislocates its traces, sustaining the point at which another image might emerge from within painting.&nbsp;[...]&nbsp;사례 연구: 《Three Bodies》 (2025) 한재열의 〈Bystanders, Three Bodies〉는 높이 220cm, 전체 너비 570 cm의 세 캔버스에 붉은 색면과 검은 선, 겹쳐진 팔다리를 밀어 넣는다. 가까이에서는 물감의 두께와 압력이 살처럼 솟지만, 뒤로 물러나면 하나의 윤곽이 다른 몸의 시작점으로 이어진다. 제목은 ‘세 개’를 지시하지만 화면 속 인물은 셀 수 없다. 세 패널만이 분명한 단위로 남고, 그 안의 몸은 하나와 다수 사이에서 계속 합쳐지고 흩어진다. 이 식별의 지연은 묘사의 결함이 아니다. 관객은 윤곽과 얼굴, 성별화된 단서를 따라 각 신체의 소유와 경계를 확정하려 하지만, 팔과 다리는 서로의 영역을 가로지르고 배경과 살은 같은 적색의 밀도 차이로만 잠정적으로 갈린다. 관계가 완성된 개인들 뒤에 오는 것이 아니라, 접촉과 압력 속에서 개별 신체가 잠시 응고한다. 플로리안 괴트케는 『Burning Images』의 「Double Bodies」에서 칸토로비치가 구분한 왕의 자연적 신체와 지속되는 정치적 신체의 계보를 확장하며, 육체가 공적 이미지와 대리물 속에서 또 하나의 몸을 획득하는 과정을 추적한다. 이 계보를 주디스 버틀러의 공적·사적 신체 분할에 대한 비판과 함께 읽으면, 한 몸이 공적으로 출현하고 식별되는 조건이 누구에게나 같지 않다는 점이 선명해진다. 〈Three Bodies〉의 형상은 실제였을 몸, 출발 이미지 안에서 매개된 몸, 캔버스 위에서 다시 물질화된 몸 사이를 이동하지만 어느 층위에도 고정되지 않는다. 따라서 이 형상들을 정치적 에피지라고 단정할 수는 없다. 작품은 하나의 신체가 매체와 사회적 기호, 타인의 시선 속에서 중복되어 존재하는 방식을 드러낸다. 이때 화면은 부재한 존재를 불러오되 이름을 돌려주지 않는 이마고처럼 작동한다. 강한 현존은 남지만 누가, 어디서, 무엇을 겪는지는 복원되지 않는다. 한재열은 출발 이미지를 설명하는 대신 그 흔적을 압축하고 어긋나게 하면서, 회화 안에서 또 다른 이미지가 발생할 수 있는 상태를 지속시킨다. [...]&nbsp; <img width="4164" height="2299" width_o="4164" height_o="2299" data-src="https://freight.cargo.site/t/original/i/2eaf4ce5142f2a35ddd3aa1f2762b3bc315572b7d6bc71255c399ee2cfa9f8cf/Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025-copy.jpg" data-mid="251572723" border="0" src="https://freight.cargo.site/w/1000/i/2eaf4ce5142f2a35ddd3aa1f2762b3bc315572b7d6bc71255c399ee2cfa9f8cf/Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025-copy.jpg" /><img width="3832" height="1642" width_o="3832" height_o="1642" data-src="https://freight.cargo.site/t/original/i/cc5b543c3df63771ba0703ffe19254bc2278894046ce467d751c57b70cde1df0/1-Bystanders-Three-Bodies-installation-view-v5.jpg" data-mid="253878606" border="0" src="https://freight.cargo.site/w/1000/i/cc5b543c3df63771ba0703ffe19254bc2278894046ce467d751c57b70cde1df0/1-Bystanders-Three-Bodies-installation-view-v5.jpg" /><img width="2000" height="2319" width_o="2000" height_o="2319" data-src="https://freight.cargo.site/t/original/i/51658f9ce811bcfa8b5d01c07ede6429c3cc21de982198029ed3932f508fb5e9/three-bodies-1--height-220-x-width-190-cm.jpg" data-mid="251572471" border="0" src="https://freight.cargo.site/w/1000/i/51658f9ce811bcfa8b5d01c07ede6429c3cc21de982198029ed3932f508fb5e9/three-bodies-1--height-220-x-width-190-cm.jpg" /><img width="2000" height="2321" width_o="2000" height_o="2321" data-src="https://freight.cargo.site/t/original/i/d2dd7bd06786efc4c9aa59b4d05f24986f69d1ef2f18f4e9e3e802c0b1ef4167/three-bodies-2--height-220-x-width-190-cm.jpg" data-mid="251572473" border="0" src="https://freight.cargo.site/w/1000/i/d2dd7bd06786efc4c9aa59b4d05f24986f69d1ef2f18f4e9e3e802c0b1ef4167/three-bodies-2--height-220-x-width-190-cm.jpg" /><img width="2000" height="2327" width_o="2000" height_o="2327" data-src="https://freight.cargo.site/t/original/i/fc07ba5823d20a427f42f1296cbb7526ae43f12b3dbfba130814c56dd48decce/three-bodies-3--height-220-x-width-190-cm.jpg" data-mid="251572478" border="0" src="https://freight.cargo.site/w/1000/i/fc07ba5823d20a427f42f1296cbb7526ae43f12b3dbfba130814c56dd48decce/three-bodies-3--height-220-x-width-190-cm.jpg" /><img width="5889" height="3950" width_o="5889" height_o="3950" data-src="https://freight.cargo.site/t/original/i/0bebc7506c449c479225f8474d3a90cd9661bd524aab85a8e674f00ca280b9cd/DSC07151-copy.jpg" data-mid="251572679" border="0" src="https://freight.cargo.site/w/1000/i/0bebc7506c449c479225f8474d3a90cd9661bd524aab85a8e674f00ca280b9cd/DSC07151-copy.jpg" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/d3a3b840e6c76ea4f1245caf423810ca7c936349c25aa28fe518402e0ee02274/02_4_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" data-mid="251572716" border="0" src="https://freight.cargo.site/w/1000/i/d3a3b840e6c76ea4f1245caf423810ca7c936349c25aa28fe518402e0ee02274/02_4_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/cc5575061ba106e0ab6367076302d998b5ea4696108964d5d7e7574465682575/DSC06248.jpg" data-mid="251572713" border="0" src="https://freight.cargo.site/w/1000/i/cc5575061ba106e0ab6367076302d998b5ea4696108964d5d7e7574465682575/DSC06248.jpg" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e00ecadc796c703f5ff87e33e068530ec10698abd66deed78dcefdc3c2443110/DSC06237.jpg" data-mid="251572711" border="0" src="https://freight.cargo.site/w/1000/i/e00ecadc796c703f5ff87e33e068530ec10698abd66deed78dcefdc3c2443110/DSC06237.jpg" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/17c43fc3f910637f2c9d6fab9f6e5e717426c9111036a98fb432471a6fef7540/DSC06239.jpg" data-mid="251572712" border="0" src="https://freight.cargo.site/w/1000/i/17c43fc3f910637f2c9d6fab9f6e5e717426c9111036a98fb432471a6fef7540/DSC06239.jpg" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8fb04d14f2df7f8cff3612c0dfe6d600211292043911246bea82e9631e28251c/03_4_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" data-mid="251572729" border="0" src="https://freight.cargo.site/w/1000/i/8fb04d14f2df7f8cff3612c0dfe6d600211292043911246bea82e9631e28251c/03_4_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/0673d4c37920e4178b57afc30b43541d01079a3c053828e87c15e894f5d9c6f1/02_2_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" data-mid="251572728" border="0" src="https://freight.cargo.site/w/1000/i/0673d4c37920e4178b57afc30b43541d01079a3c053828e87c15e894f5d9c6f1/02_2_Bystanders_Three_Bodies_220x570cm_Oil_PigmentBar_Canvas_2025.jpg.jpg" /><img width="2999" height="1069" width_o="2999" height_o="1069" data-src="https://freight.cargo.site/t/original/i/e9ff200a8f1ad922a6063f317e0f4517c113abc86c028b776ec0b0c27a24d986/20250906-00001-4.jpg" data-mid="253512287" border="0" src="https://freight.cargo.site/w/1000/i/e9ff200a8f1ad922a6063f317e0f4517c113abc86c028b776ec0b0c27a24d986/20250906-00001-4.jpg" /> https://jaeyeolhan.com/Bystanders-Youth Fri, 20 Jun 2025 15:03:47 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/Bystanders-Youth Bystanders, Youth— Project Bystanders Tetraptych 2024Oil and Pigment Bar on Canvaseach 220 × 190 cm (86 5/8 × 74 3/4 in); overall 220 × 760 cm (86 5/8 × 299 1/4 in) (HxW) Courtesy of the Artist, Berlin Case Study: Youth (2024) Bystanders, Youth (2024) consists of four canvases, each presenting a distinct figure. The four panels do not depict successive movements of a single person. Each figure occupies its own pictorial space, yet the composition prevents the panels from remaining entirely separate. A fragment of a foot cropped in the first panel reappears in the lower right corner of the fourth, establishing a connection between the beginning and end of the painting. This recurring fragment alters the way the work is seen. The viewer initially moves from left to right, encountering four individuals in sequence. Upon reaching the final panel, however, the repeated bodily detail directs the gaze back to the first. What appears to be a sequence develops into a circular visual structure. The connection does not depend on a continuous narrative or the movement of one character across four scenes. Instead, it emerges from a pictorial relationship between otherwise distinct figures. The individual bodies remain recognisable, but their forms are interrupted, displaced and partially absorbed into the surrounding fields of colour. The viewer must repeatedly distinguish bodily contours from the marks and surfaces that constitute them. Yet the more consequential uncertainty concerns not simply the identification of each figure, but the relationship between the four panels. Each canvas establishes a separate presence while participating in a larger composition that cannot be fully understood through any single panel. The title Youth brings these figures under a shared designation without resolving their identities or prescribing a common narrative. Rather than illustrating a predetermined condition of a generation, the painting constructs a relationship through its own visual organisation. Four individuals remain distinct, while a fragment of the body connects the final image to the first. The work's circular structure allows the act of looking to continue beyond the apparent end of the composition, making the viewer's movement an essential part of how the painting is experienced.사례 연구: 《Youth》 (2024) 《Bystanders, Youth》(2024)는 네 개의 캔버스에 각각 다른 인물이 등장하는 사폭화다. 네 패널은 한 사람의 움직임을 연속적으로 보여주는 장면이 아니다. 각 인물은 자신의 화면을 차지하지만, 네 개의 화면이 완전히 분리된 상태로 남아 있는 것도 아니다. 첫 번째 패널에서 잘려 나간 발의 일부가 마지막 네 번째 패널의 오른쪽 아래에 다시 나타나면서 그림의 시작과 끝을 연결한다. 이 반복은 작품을 보는 방식을 바꾼다. 관람자는 처음에 왼쪽에서 오른쪽으로 이동하며 네 사람을 차례로 마주한다. 그러나 마지막 패널에 도착하면 반복된 신체의 일부가 시선을 다시 첫 번째 패널로 되돌린다. 네 장면의 연속처럼 보였던 구성이 하나의 순환 구조로 바뀌는 것이다. 이 연결은 한 인물이 네 화면을 이동하는 서사에서 발생하지 않는다. 서로 다른 인물들이 각자의 화면에 존재하면서도, 반복된 형상의 일부를 통해 하나의 회화적 관계를 형성한다. 각 인물의 신체는 알아볼 수 있지만, 윤곽은 끊기고 어긋나며 주변 색면 속으로 부분적으로 흡수된다. 관람자는 인물의 경계와 그것을 구성하는 물감의 흔적을 번갈아 살펴야 한다. 그러나 이 작품에서 더 중요한 문제는 개별 신체를 알아보는 일만이 아니라 네 화면이 서로 어떤 관계를 맺는가에 있다. 각각의 캔버스는 하나의 독립적인 존재를 제시하지만, 그중 어느 한 화면만으로는 작품 전체의 구성을 충분히 이해할 수 없다. 《Youth》라는 제목은 네 인물을 하나의 이름 아래 묶지만, 그들의 정체성이나 공통된 이야기를 확정하지 않는다. 이 그림은 특정 세대의 상태를 미리 정해진 의미로 설명하기보다, 서로 다른 네 인물 사이에 회화적인 관계를 만들어낸다. 각 인물의 개별성은 유지되지만, 신체의 일부가 마지막 화면과 첫 화면을 연결하면서 작품은 하나의 순환적인 구조를 갖게 된다. 관람자의 시선은 그림의 끝에서 멈추지 않고 다시 처음으로 돌아간다. 작품을 보는 움직임 자체가 회화의 구성에 참여하는 것이다. <img width="4000" height="1412" width_o="4000" height_o="1412" data-src="https://freight.cargo.site/t/original/i/7ee39c49aa921e2d2fb09c880b2c137051ded7ec7a712d3b1cb901cd71eec029/-Quadtych--Bystanders--Youth_2024--220x760cm--Oil-on-Canvas--.jpg" data-mid="234802777" border="0" src="https://freight.cargo.site/w/1000/i/7ee39c49aa921e2d2fb09c880b2c137051ded7ec7a712d3b1cb901cd71eec029/-Quadtych--Bystanders--Youth_2024--220x760cm--Oil-on-Canvas--.jpg" /><img width="2560" height="1085" width_o="2560" height_o="1085" data-src="https://freight.cargo.site/t/original/i/7abf4d899441cb05518c1053b3afba38799ca45ef9d2b7c35d5e420e29652268/1-Bystanders-Youth-installation-view-v4.jpg" data-mid="253881324" border="0" src="https://freight.cargo.site/w/1000/i/7abf4d899441cb05518c1053b3afba38799ca45ef9d2b7c35d5e420e29652268/1-Bystanders-Youth-installation-view-v4.jpg" /><img width="2000" height="2314" width_o="2000" height_o="2314" data-src="https://freight.cargo.site/t/original/i/d55395dca1ba8172fe5676e632ad1be33fab8f28ca2298d16114fcfe82d184aa/Bystander_Youth_01_Left.jpg" data-mid="234802808" border="0" src="https://freight.cargo.site/w/1000/i/d55395dca1ba8172fe5676e632ad1be33fab8f28ca2298d16114fcfe82d184aa/Bystander_Youth_01_Left.jpg" /><img width="2000" height="2316" width_o="2000" height_o="2316" data-src="https://freight.cargo.site/t/original/i/8cc45957170d2d34c87469bc3ba13cddd80ee3000a945f654d8efa79d222fd08/Bystander_Youth_02_MidLeft.jpg" data-mid="234802809" border="0" src="https://freight.cargo.site/w/1000/i/8cc45957170d2d34c87469bc3ba13cddd80ee3000a945f654d8efa79d222fd08/Bystander_Youth_02_MidLeft.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/f5724a721361eaf5033576907bc518568eb6c8b2abc922091b5790643a158735/IMG_6618-2.jpg" data-mid="234802778" border="0" src="https://freight.cargo.site/w/1000/i/f5724a721361eaf5033576907bc518568eb6c8b2abc922091b5790643a158735/IMG_6618-2.jpg" /><img width="2000" height="2312" width_o="2000" height_o="2312" data-src="https://freight.cargo.site/t/original/i/e4f7c3345ebaff4cbd6d72d34bad04d3396dcb877702bae8c49811ffd2c4d374/Bystander_Youth_03_MidRight.jpg" data-mid="234802810" border="0" src="https://freight.cargo.site/w/1000/i/e4f7c3345ebaff4cbd6d72d34bad04d3396dcb877702bae8c49811ffd2c4d374/Bystander_Youth_03_MidRight.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/36d618b19a9c56730c456fecb4a449079856dbeb1ad7787b9701e1b7d002131f/IMG_6619-2.jpg" data-mid="234802776" border="0" src="https://freight.cargo.site/w/1000/i/36d618b19a9c56730c456fecb4a449079856dbeb1ad7787b9701e1b7d002131f/IMG_6619-2.jpg" /><img width="2000" height="2318" width_o="2000" height_o="2318" data-src="https://freight.cargo.site/t/original/i/eb82bf1c1042f5d0619e9ca63237b139f979e9e16c73ae7d2559902394afa1ce/Bystander_Youth_04_Right.jpg" data-mid="234802811" border="0" src="https://freight.cargo.site/w/1000/i/eb82bf1c1042f5d0619e9ca63237b139f979e9e16c73ae7d2559902394afa1ce/Bystander_Youth_04_Right.jpg" /><img width="3000" height="1779" width_o="3000" height_o="1779" data-src="https://freight.cargo.site/t/original/i/dbf4eddac6978271e85ef524574b0ff01d53410ff1a0da8f722e1e4a17ade194/Cank_Bystanders-Youth_220x760cm_Oil-on-Canvas_2024.jpg" data-mid="234806733" border="0" src="https://freight.cargo.site/w/1000/i/dbf4eddac6978271e85ef524574b0ff01d53410ff1a0da8f722e1e4a17ade194/Cank_Bystanders-Youth_220x760cm_Oil-on-Canvas_2024.jpg" /><img width="3000" height="2033" width_o="3000" height_o="2033" data-src="https://freight.cargo.site/t/original/i/497f1329848425f5f0d2b14c189b0901242826f2840b08155437a05c1a971583/Cank_2-Bystanders-Youth_220x760cm_Oil-on-Canvas_2024.jpg" data-mid="234806736" border="0" src="https://freight.cargo.site/w/1000/i/497f1329848425f5f0d2b14c189b0901242826f2840b08155437a05c1a971583/Cank_2-Bystanders-Youth_220x760cm_Oil-on-Canvas_2024.jpg" /> https://jaeyeolhan.com/Bystanders-BOX Tue, 13 Oct 2026 06:18:11 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/Bystanders-BOX Bystanders, BOX— Project Bystanders 2024Oil and Pigment Bar on Canvas200 × 200 cm (78 3/4 × 78 3/4 in) Courtesy of the Artist, Berlin<img width="1290" height="1250" width_o="1290" height_o="1250" data-src="https://freight.cargo.site/t/original/i/1e2c8e41d9d0ca6e1f98299d7bbdd20e258375ca26a577f0f3d1b1ec3981740b/1-box_o.jpg" data-mid="253232926" border="0" src="https://freight.cargo.site/w/1000/i/1e2c8e41d9d0ca6e1f98299d7bbdd20e258375ca26a577f0f3d1b1ec3981740b/1-box_o.jpg" /><img width="2609" height="3757" width_o="2609" height_o="3757" data-src="https://freight.cargo.site/t/original/i/5ffda26a63939281fba93d7cc44e8f7fee51fd60c52f1b354a023fccb71cd0c3/2-image-e9dd9af4.jpg" data-mid="253232934" border="0" src="https://freight.cargo.site/w/1000/i/5ffda26a63939281fba93d7cc44e8f7fee51fd60c52f1b354a023fccb71cd0c3/2-image-e9dd9af4.jpg" /><img width="1602" height="3397" width_o="1602" height_o="3397" data-src="https://freight.cargo.site/t/original/i/9da011ff45d212f81d10b08f27b5250d832637f06a3717d95d336aad274f52ac/1-image-c37513b9.jpg" data-mid="253993554" border="0" src="https://freight.cargo.site/w/1000/i/9da011ff45d212f81d10b08f27b5250d832637f06a3717d95d336aad274f52ac/1-image-c37513b9.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/476edb92575a6017bac3b57819640257a4eac9cfd477dfc2cbb65622704a31c7/3-image-c9888214.jpg" data-mid="253993601" border="0" src="https://freight.cargo.site/w/1000/i/476edb92575a6017bac3b57819640257a4eac9cfd477dfc2cbb65622704a31c7/3-image-c9888214.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/81a35c4568af698511d1e6364b4299660cdca2ba6f1d7639120c265ea4b8ae68/4-image-26c29e03.jpg" data-mid="253993604" border="0" src="https://freight.cargo.site/w/1000/i/81a35c4568af698511d1e6364b4299660cdca2ba6f1d7639120c265ea4b8ae68/4-image-26c29e03.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/d810e557290d2a50469f6118ac49b2e47934315cfc781849857f9a13c808d66c/5-image-97da7cc3.jpg" data-mid="253993613" border="0" src="https://freight.cargo.site/w/1000/i/d810e557290d2a50469f6118ac49b2e47934315cfc781849857f9a13c808d66c/5-image-97da7cc3.jpg" /><img width="3000" height="2607" width_o="3000" height_o="2607" data-src="https://freight.cargo.site/t/original/i/1a404978779ac073ffae521dedff1ea4a750df96e978772ae9646f65c9a518ab/6-image-ff2b06b6.jpg" data-mid="253993616" border="0" src="https://freight.cargo.site/w/1000/i/1a404978779ac073ffae521dedff1ea4a750df96e978772ae9646f65c9a518ab/6-image-ff2b06b6.jpg" /> https://jaeyeolhan.com/Passersby-Imago Tue, 20 Oct 2026 10:28:00 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/Passersby-Imago .essay-thumb img{display:block;width:clamp(110px,18vw,160px) !important;height:auto !important;margin:0 0 10px;}Passersby, Imago— Project Passersby 2026 PIGMENT BAR and oil on canvas 180 × 210 cm (70 7/8 × 82 5/8 in) Courtesy of the Artist, BerlinThe Inside and Outside of the Face That RemainsBoth paintings present a single head emerging against a dark blue ground. Black, white, yellow and red, together with several layers of blue, trace an oval perimeter and divide it from within. Their colours and compositions are close enough to suggest that one work might refer to the other. Yet the change in scale alters the way each head exists. The smaller painting, measuring 30 × 24.5 cm, remains before the eye at roughly the size of an actual face. At 180 × 210 cm, the larger work confronts the viewer at the scale of the entire body. One calls for close inspection; the other requires distance. In the smaller painting, the outline of the head remains relatively clear, but the face does not settle securely within it. White and yellow matter seems to have run down the surface before hardening into protrusions that cover the places where the eyes, nose and mouth should be. It resembles a mask laid over a face, only to appear moments later as internal tissue forced outwards. In the larger painting, thick bands of colour turn around the head and fold the surface inwards. The ear, neck and outer contour of the skull remain, while the centre of the face is displaced into layers of brushwork and gaps. What protrudes materially from the smaller surface becomes, in the larger work, a movement that revolves and penetrates. The dates tell us that the smaller painting came first, but their visual relationship does not settle the question of precedence. At moments, the larger work appears to be an enlarged original from which the smaller image has broken away as a residue. Conversely, if the smaller painting is seen as a compressed mould, the larger one resembles a surface that had been folded inside it and subsequently opened out. The works do not repeat the same face. Once they are brought into relation, each becomes a structure through which the possible formation of the other can be imagined. This relationship recalls the reversal of inside and outside that occurs in the making of a cast mask. When material is poured into a concave negative mould taken from a face, it produces a convex positive form. A surface that once belonged to the inside of the mould becomes the outside of the completed mask. Neither painting was made by casting. Yet the surface of the PIGMENT BAR, which contains beeswax and has been pressed, shifted and allowed to set, materially evokes this conversion. In the smaller work especially, paint no longer merely represents a face. It assumes the place of another skin. Death masks and Roman ancestral images can be related, but they are not identical. A death mask preserves as a material trace a surface taken directly from a dead face. Ancestral images in ancient Rome, by contrast, borrowed the bodies of surrogates during funeral processions, enabling an absent person to appear again.1 The two lineages meet in the capacity of an image to occupy the place of someone who has disappeared and prolong a form of presence. What matters to me is not the reproduction of these historical forms in painting. It is the question of how a figure can continue to hold someone’s place after likeness and identification have ceased to function. In entomology, imago names the adult form that appears after metamorphosis.2 The forms in these paintings, however, never arrive at a completed final stage. A shed casing and what emerges from within it seem to be present at the same time. What counts as residue and what counts as appearance continually exchange positions. The smaller painting resembles a hardened remnant while also pushing a new form through its surface. The larger work makes the head appear at a scale greater than the body, yet retains an empty space and a dismantled face within it. Throughout the Passersby series, I have treated the face not as proof of individual identity but as a place where someone appears while simultaneously receding from identification. These two works carry this disjunction through different scales and different movements of matter. The likeness of the original figure is not preserved, yet the thickness and direction of the paint, the contour of the head and its vacant centre create a place in which a face can exist again. Between the two paintings lies a relationship between surfaces formed at different moments. One condenses a trace within a small field; the other returns that trace as a presence larger than the body. The image beyond the image is not an answer concealed behind the surface. It is a form generated anew across different scales, times and material conditions once the initial likeness can no longer guarantee the person it once represented. By exchanging inside and outside, the two works sustain the process through which a face takes shape again where resemblance has disappeared.1. On the ancestral masks worn by stand-ins at Roman aristocratic funerals, see Polybius, Histories 6.53, trans. Evelyn S. Shuckburgh (1889). For the definition of a death mask as an impression or cast taken from a deceased person's face, see National Portrait Gallery, "Death mask."2. Imago is the entomological term for an insect's adult stage. Amateur Entomologists' Society, "Imago," Entomologists' Glossary.Innen und Außen des verbleibenden GesichtsAuf beiden Gemälden erscheint vor einem dunkelblauen Grund ein einzelner Kopf. Schwarz, Weiß, Gelb und Rot sowie mehrere Schichten von Blau bilden seinen ovalen Umriss und durchqueren zugleich sein Inneres. Farbigkeit und Aufbau ähneln sich so stark, dass ein Werk auf das andere zu verweisen scheint. Mit dem Wechsel des Formats verändert sich jedoch auch die Weise, in der der Kopf gegenwärtig wird. Das kleine Gemälde im Format 30 × 24,5 cm bleibt ungefähr in der Größe eines wirklichen Gesichts vor dem Auge. Das 180 × 210 cm große Bild tritt dem Betrachter im Maßstab des gesamten Körpers gegenüber. Das eine verlangt Nähe, das andere Abstand. Im kleineren Gemälde bleibt der Umriss des Kopfes vergleichsweise deutlich, doch das Gesicht findet darin keinen stabilen Platz. Weiße und gelbe Materie scheint über die Oberfläche gelaufen und anschließend zu Vorsprüngen erstarrt zu sein, die jene Stellen bedecken, an denen Augen, Nase und Mund zu erwarten wären. Zunächst wirkt sie wie eine über das Gesicht gelegte Maske, dann wie inneres Gewebe, das nach außen gedrungen ist. Im größeren Bild drehen sich breite Farbbahnen um den Kopf und falten seine Oberfläche nach innen. Ohr, Hals und die äußere Kontur des Schädels bleiben erhalten, während das Zentrum des Gesichts in Schichten von Pinselzügen und Zwischenräumen zurückweicht. Was im kleinen Format materiell hervortritt, verwandelt sich im großen Gemälde in eine kreisende und eindringende Bewegung. Die Datierung zeigt, dass das kleinere Werk zuerst entstanden ist. Das visuelle Verhältnis der beiden Bilder legt ihre Ordnung dennoch nicht eindeutig fest. Mitunter wirkt das große Gemälde wie eine vergrößerte Vorlage, von der sich das kleine Bild als Rest abgelöst hat. Betrachtet man dagegen das kleinere Werk als verdichtete Gussform, erscheint das größere wie eine darin eingefaltete und anschließend entfaltete Oberfläche. Die beiden Arbeiten wiederholen nicht dasselbe Gesicht. Sobald sie aufeinander bezogen werden, lässt jede von ihnen die mögliche Entstehung der anderen vorstellbar werden. Dieses Verhältnis erinnert an die Umkehrung von Innen und Außen bei der Abformung einer Maske. Wird Material in eine konkave Negativform gegossen, die von einem Gesicht abgenommen wurde, entsteht daraus ein konvexer Positivabguss. Eine Fläche, die zuvor die Innenseite der Form bildete, wird zur Außenseite der fertigen Maske. Keines der beiden Gemälde wurde im Gussverfahren hergestellt. Die gepresste, verschobene und erstarrte Oberfläche des PIGMENT BAR, das Bienenwachs enthält, ruft diesen Vorgang jedoch materiell auf. Besonders im kleineren Werk beschreibt die Farbe das Gesicht nicht mehr nur. Sie nimmt den Platz einer weiteren Haut ein. Totenmasken und römische Ahnenbilder lassen sich aufeinander beziehen, sind jedoch nicht identisch. Eine Totenmaske bewahrt die unmittelbar vom Gesicht eines Verstorbenen abgenommene Oberfläche als materielle Spur. Die Ahnenbilder des antiken Rom wurden dagegen bei Bestattungszügen von Stellvertretern getragen und ließen eine abwesende Person erneut erscheinen.1 Beide Traditionslinien berühren sich dort, wo ein Bild den Platz eines verschwundenen Menschen übernimmt und dessen Gegenwart verlängert. Entscheidend ist für mich nicht, diese historischen Formen in der Malerei nachzubilden. Mich interessiert, wie eine Gestalt den Platz einer Person weiterhin besetzen kann, nachdem Ähnlichkeit und Identifizierung ihre Funktion verloren haben. In der Entomologie bezeichnet Imago das erwachsene Stadium eines Insekts, das nach der Metamorphose hervortritt.2 Die Formen dieser beiden Gemälde erreichen jedoch keinen abgeschlossenen Endzustand. Eine abgestreifte Hülle und das, was aus ihrem Inneren hervorkommt, scheinen gleichzeitig sichtbar zu sein. Was zurückbleibt und was neu hervortritt, vertauscht fortwährend seine Position. Das kleine Gemälde wirkt wie eine erstarrte Spur und drängt zugleich eine neue Gestalt aus seiner Oberfläche hervor. Das große Bild lässt den Kopf in einem den Körper übersteigenden Maßstab erscheinen, bewahrt in seinem Inneren jedoch weiterhin eine Leerstelle und ein zerlegtes Gesicht. In der Werkgruppe Passersby habe ich das Gesicht nicht als Beweis einer individuellen Identität behandelt, sondern als einen Ort, an dem ein Mensch erscheint und sich zugleich der Identifizierung entzieht. Die beiden Arbeiten führen dieses Auseinandertreten von Erscheinung und Wiedererkennbarkeit in unterschiedlichen Größen und Bewegungen des Materials fort. Die Ähnlichkeit mit der ursprünglichen Figur bleibt nicht erhalten. Dennoch schaffen die Dicke und Richtung der Farbe, der Umriss des Kopfes und sein leeres Zentrum einen Ort, an dem ein Gesicht erneut existieren kann. Zwischen den Gemälden liegt die Beziehung zweier Oberflächen, die zu unterschiedlichen Zeiten entstanden sind. Das eine verdichtet eine Spur auf kleinem Raum; das andere überführt sie in eine Gegenwart, die größer ist als der menschliche Körper. Das Bild jenseits des Bildes ist keine hinter der Oberfläche verborgene Antwort. Es ist eine Gestalt, die zwischen verschiedenen Größen, Zeiten und materiellen Bedingungen neu entsteht, sobald die ursprüngliche Ähnlichkeit die dargestellte Person nicht mehr verbürgen kann. Indem die beiden Werke Innen und Außen gegeneinander verschieben, halten sie jenen Vorgang in Gang, durch den sich dort erneut ein Gesicht bildet, wo die Ähnlichkeit verschwunden ist.1. Zu den Ahnenmasken, die bei römischen aristokratischen Bestattungen von Stellvertretern getragen wurden, siehe Polybios, Histories 6.53, engl. Übers. Evelyn S. Shuckburgh (1889). Zur Totenmaske als Abdruck oder Abguss des Gesichts eines Verstorbenen siehe National Portrait Gallery, "Death mask."2. Imago ist der entomologische Begriff für das erwachsene Stadium eines Insekts. Amateur Entomologists' Society, "Imago," Entomologists' Glossary.남아 있는 얼굴의 안과 밖두 그림에는 각각 하나의 머리가 짙푸른 배경을 바탕으로 모습을 드러낸다. 검은색, 흰색, 노란색, 빨간색, 그리고 여러 층의 파란색이 타원형의 외곽을 그리고 그 내부를 가른다. 두 그림의 색채와 구성이 매우 닮아 있어 한 작품이 다른 작품을 참조한 것처럼 보이기도 한다. 그러나 크기의 차이는 각각의 머리가 존재하는 방식을 바꾼다. 30 × 24.5cm의 작은 그림은 실제 사람의 얼굴과 비슷한 크기로 관람자의 눈앞에 놓인다. 반면 180 × 210cm의 큰 그림은 관람자의 몸 전체에 맞먹는 규모로 마주한다. 하나는 가까이 다가가 자세히 들여다보게 하고, 다른 하나는 거리를 두고 바라보게 한다. 작은 그림에서는 머리의 윤곽이 비교적 분명하게 남아 있지만, 얼굴은 그 안에서 안정된 형태를 갖추지 못한다. 흰색과 노란색 물감은 표면을 따라 흘러내린 뒤 돌출된 형태로 굳은 듯하며, 눈과 코, 입이 있어야 할 자리를 덮고 있다. 처음에는 얼굴 위에 씌운 가면처럼 보이다가, 잠시 후에는 내부의 조직이 바깥으로 밀려 나온 것처럼 보인다. 큰 그림에서는 두터운 색띠들이 머리의 둘레를 휘감으며 표면을 안쪽으로 접어 넣는다. 귀와 목, 두개골의 바깥 윤곽은 남아 있지만, 얼굴의 중심부는 여러 층의 붓질과 그 사이의 틈으로 밀려나 있다. 작은 그림에서 물질적으로 돌출되어 있던 것은 큰 그림에서 휘돌며 안쪽으로 파고드는 움직임으로 바뀐다. 제작연도를 보면 작은 그림이 먼저 만들어졌음을 알 수 있다. 그러나 두 그림의 시각적 관계만으로 어느 쪽이 먼저인지를 결정해 주지는 않는다. 어떤 순간에는 큰 그림이 확대된 원형처럼 보이고, 작은 그림은 그곳에서 떨어져 나온 잔여물처럼 보인다. 반대로 작은 그림을 압축된 주형으로 바라본다면, 큰 그림은 그 안에 접혀 있던 표면을 나중에 바깥으로 펼쳐 놓은 것처럼 보인다. 두 작품은 동일한 얼굴을 반복하지 않는다. 두 그림을 서로 관계 속에서 바라보는 순간, 각각은 다른 하나가 어떻게 형성되었을지 상상하게 하는 구조가 된다. 이러한 관계는 얼굴의 본을 떠 가면을 만드는 과정에서 일어나는 안과 밖의 전환을 떠올리게 한다. 얼굴에서 본뜬 오목한 음형의 틀에 재료를 부으면 볼록한 양형이 만들어진다. 본래 주형의 안쪽에 있던 표면이 완성된 가면에서는 바깥쪽 표면이 되는 것이다. 두 그림이 실제로 주형을 이용해 제작된 것은 아니다. 그러나 밀랍이 포함된 피그먼트바를 누르고 밀어 옮긴 뒤 굳히는 과정에서 형성된 표면은 이러한 전환을 물질적으로 환기한다. 특히 작은 그림에서 물감은 더 이상 얼굴을 재현하는 데 머물지 않는다. 물감 자체가 또 하나의 피부를 대신한다. 데스마스크와 고대 로마의 조상상은 서로 관련지어 생각할 수 있지만, 동일한 것은 아니다. 데스마스크는 죽은 사람의 얼굴에서 직접 본뜬 표면을 물질적인 흔적으로 보존한다. 반면 고대 로마의 조상상은 장례 행렬에서 대역을 맡은 사람의 몸을 빌려 부재한 인물을 다시 나타나게 했다.1 이 두 전통은 사라진 사람의 자리를 이미지가 대신 차지하고, 그 존재의 한 형태를 지속시킬 수 있다는 점에서 만난다. 내게 중요한 것은 이러한 역사적 형식들을 회화에서 재현하는 일이 아니다. 닮음과 식별이 더 이상 기능하지 않을 때에도 하나의 형상이 어떻게 누군가의 자리를 계속 차지할 수 있는가 하는 질문이다. 곤충학에서 이마고(imago)는 변태 과정을 거쳐 나타나는 성충을 가리킨다.2 그러나 이 그림들에 나타나는 형상은 결코 완결된 최종 단계에 도달하지 않는다. 벗겨진 허물과 그 안에서 나온 것이 동시에 존재하는 것처럼 보인다. 무엇이 잔여물이고 무엇이 새롭게 나타난 것인지 그 위치가 끊임없이 뒤바뀐다. 작은 그림은 굳어 남은 잔여물처럼 보이면서도 그 표면을 뚫고 새로운 형상을 밀어 올린다. 큰 그림에서는 머리가 신체보다 큰 규모로 나타나지만, 그 안에는 여전히 빈 공간과 해체된 얼굴이 남아 있다. 나는 Passersby 연작 전반에서 얼굴을 개인의 신원을 증명하는 표식이 아니라, 누군가가 모습을 드러내는 동시에 식별에서 멀어지는 장소로 다뤄왔다. 이 두 작품은 서로 다른 크기와 물질의 움직임을 통해 그러한 어긋남을 이어간다. 원래 인물의 닮음은 보존되지 않지만, 물감의 두께와 움직임의 방향, 머리의 윤곽과 비어 있는 중심부는 얼굴이 다시 존재할 수 있는 자리를 만든다. 두 그림 사이에는 서로 다른 시간에 형성된 표면들의 관계가 놓여 있다. 하나는 작은 화면 안에 흔적을 응축하고, 다른 하나는 그 흔적을 신체보다 큰 현존으로 되돌려 놓는다. 이미지 너머의 이미지는 표면 뒤에 감춰진 정답이 아니다. 그것은 최초의 닮음이 한때 재현했던 사람을 더 이상 보증하지 못하게 되었을 때, 서로 다른 크기와 시간, 물질적 조건을 거치면서 새롭게 생성되는 형상이다. 두 작품은 안과 밖을 뒤바꾸면서, 닮음이 사라진 자리에서 얼굴이 다시 형성되는 과정을 지속시킨다.1. 로마 귀족의 장례에서 대역이 착용한 조상 가면에 대해서는 폴리비오스, 『역사』 6.53, Evelyn S. Shuckburgh 영어 번역(1889)을 참조. 죽은 사람의 얼굴에서 직접 뜬 본이나 주물로서 데스마스크의 정의는 National Portrait Gallery의 "Death mask" 참조.2. 이마고는 곤충의 성충 단계를 가리키는 곤충학 용어다. Amateur Entomologists' Society, "Imago," Entomologists' Glossary 참조.<img width="2000" height="2336" width_o="2000" height_o="2336" data-src="https://freight.cargo.site/t/original/i/ac299c5b26cf28584351c040c825439c50245b81f7101682a47c5747f0fd5664/Passersby--Imago_190x210cm_Oil-and-Pigment-Bar-on-Canvas_2025.jpg" data-mid="253512225" border="0" src="https://freight.cargo.site/w/1000/i/ac299c5b26cf28584351c040c825439c50245b81f7101682a47c5747f0fd5664/Passersby--Imago_190x210cm_Oil-and-Pigment-Bar-on-Canvas_2025.jpg" /><img width="2000" height="1164" width_o="2000" height_o="1164" data-src="https://freight.cargo.site/t/original/i/520315db14b96a34ea804f4465b1ed48246426091da6bc9fdddd5d18f9b28c3f/Passersby--Imago_190x210cm_Oil-and-Pigment-Bar-on-Canvas_2025_detail.jpg" data-mid="253512224" border="0" src="https://freight.cargo.site/w/1000/i/520315db14b96a34ea804f4465b1ed48246426091da6bc9fdddd5d18f9b28c3f/Passersby--Imago_190x210cm_Oil-and-Pigment-Bar-on-Canvas_2025_detail.jpg" /><img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/f7332e8cf18e382c05152e9c4585e6d80fe786cb4d70a4b4e6f2bc1c1682e189/Passersby--Imago_190x210cm_Pigment-Bar-and-Oil-on-Canvas_2026.jpg" data-mid="253512226" border="0" src="https://freight.cargo.site/w/1000/i/f7332e8cf18e382c05152e9c4585e6d80fe786cb4d70a4b4e6f2bc1c1682e189/Passersby--Imago_190x210cm_Pigment-Bar-and-Oil-on-Canvas_2026.jpg" /><img width="3840" height="4817" width_o="3840" height_o="4817" data-src="https://freight.cargo.site/t/original/i/f41f4a80f9e21fff611deee1be391f30a1b73a64cc9053d49a81747c4eb5eecb/7-Deathmask-3840-150dpi.jpg" data-mid="253513878" border="0" src="https://freight.cargo.site/w/1000/i/f41f4a80f9e21fff611deee1be391f30a1b73a64cc9053d49a81747c4eb5eecb/7-Deathmask-3840-150dpi.jpg" />Passersby, Study of Death Mask, 2020, PIGMENT BAR on canvas, 30 × 24.5 cm (11 3/4 × 9 5/8 in), Courtesy of the Artist, Berlin https://jaeyeolhan.com/Passersby-Study-of-Death-Mask Mon, 07 Sep 2020 15:35:54 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/Passersby-Study-of-Death-Mask Passersby, Study of Death Mask&nbsp;— Project Passersby 2020 Pigment Bar on Canvas 30 × 24.5 cm (11 3/4 × 9 5/8 in) Courtesy of the Artist, Berlin<img width="3840" height="4817" width_o="3840" height_o="4817" data-src="https://freight.cargo.site/t/original/i/ded69cabe3626f3c5190de23a0a009b0008b6c2e4aea9f4513972a06fb3e8e12/Deathmask-3840-150dpi.jpg" data-mid="82018739" border="0" src="https://freight.cargo.site/w/1000/i/ded69cabe3626f3c5190de23a0a009b0008b6c2e4aea9f4513972a06fb3e8e12/Deathmask-3840-150dpi.jpg" /><img width="3840" height="1973" width_o="3840" height_o="1973" data-src="https://freight.cargo.site/t/original/i/df86b2421e7aad219b50990b0cbb46893d9d993c2babab39e757cab99b95f70f/Deathmask-Detail-3840-150.jpg" data-mid="82019073" border="0" src="https://freight.cargo.site/w/1000/i/df86b2421e7aad219b50990b0cbb46893d9d993c2babab39e757cab99b95f70f/Deathmask-Detail-3840-150.jpg" /><img width="1400" height="1100" width_o="1400" height_o="1100" data-src="https://freight.cargo.site/t/original/i/57c577ba0f42ee9e91bed004c2f0975c4c30deaebfa1a9acad7c75914ea59d4b/1-w31_death_mask_new_viewer-4056dab7.jpg" data-mid="252932922" border="0" src="https://freight.cargo.site/w/1000/i/57c577ba0f42ee9e91bed004c2f0975c4c30deaebfa1a9acad7c75914ea59d4b/1-w31_death_mask_new_viewer-4056dab7.jpg" /> https://jaeyeolhan.com/The-Gathering-The-Red-Sofa Mon, 13 Apr 2020 14:13:15 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/The-Gathering-The-Red-Sofa The Gathering, The Red Sofa— Project Bystanders 2020 Pigment Bar on Canvas198 × 152 cm (78 × 59 7/8 in) Private collection, South KoreaThresholds of the Impossible: Jaeyeol Han’s The Gathering, The Red Sofa Jaeyeol Han’s The Gathering, The Red Sofa presents a scene that initially appears familiar: a red sofa, a standing figure in a yellow suit, and architectural fragments suggesting a domestic setting. Yet these elements do not settle into a coherent space. The sofa appears displaced, the figure does not occupy it, and the arrangement resists a stable distinction between interior and exterior. What might first seem to be an ordinary encounter between a person and a piece of furniture becomes increasingly difficult to locate within a single spatial or temporal order. This instability is reinforced by the painting’s structure of repetition and inversion. The figure and sofa appear in different orientations, recalling the doubled arrangement of figures on a playing card. Han’s process of turning the canvas while painting is significant here: the reversal is not merely an illusion represented within the image but is connected to the physical act of making it. The repeated figure can be recognized as the same person, yet the two appearances cannot be comfortably reconciled within a continuous scene. Rather than establishing a clear sequence of events, the composition brings different orientations and possible moments into simultaneous view. The instability of belonging The standing figure is central to this ambiguity. Although the sofa suggests the possibility of sitting, the figure’s posture does not necessarily indicate a deliberate refusal. The painting provides no clear evidence of an intention to sit, to leave, or to remain. Instead, the relationship between the figure and the furniture remains unresolved. A familiar domestic object retains its recognizable function while losing the spatial conditions that would ordinarily make that function meaningful. The distinction between inside and outside is similarly uncertain. Architectural elements, including a window, suggest an interior space, but they do not establish a coherent boundary around the figure and sofa. The painting does not simply depict furniture placed outdoors. It constructs a situation in which the conventions used to distinguish a domestic interior from its exterior become unreliable. The viewer recognizes the components of a familiar environment without being able to assemble them into a stable setting. This uncertainty allows the work to raise questions about dwelling and belonging without reducing it to an illustration of a particular social condition. The displaced sofa may evoke the fragility of domestic stability, while the repeated figure may suggest the difficulty of locating an individual within a fixed environment. Such associations remain possibilities rather than definitive meanings. The painting does not identify a specific housing crisis, nor does it establish the figure as a representative of a particular social group. Its ambiguity is sustained through the visible relationships among its elements. Repetition, reversal, and unresolved space The Gathering, The Red Sofa develops its complexity through the interaction of recognizable forms and incompatible spatial arrangements. Repetition does not simply duplicate the subject; it alters the conditions under which the subject can be perceived. The figure is simultaneously familiar and difficult to situate, while the sofa shifts between an ordinary domestic object and a form whose orientation disrupts the surrounding space. The painting invites recognition and then unsettles the coherence that recognition initially promises. The material construction of the image is also important. Han’s use of Pigment Bar introduces a physical dimension to the painted surface, where pigment is applied as material rather than functioning solely as transparent representation. The image is built through gestures and material deposits that remain visible as part of the painting’s structure. Together with the rotation of the canvas, this process emphasizes that the spatial contradictions are not merely depicted but constructed through acts of painting. The work ultimately resists a single narrative resolution. The viewer cannot determine whether the repeated forms belong to different moments, different viewpoints, or a space that cannot be organized according to ordinary perspective. The title suggests a gathering, yet the painting does not establish a clear event or a stable relationship among its participants. Rather than illustrating the failure of domestic life, The Gathering, The Red Sofa examines how familiar bodies, objects, and architectural signs can be brought together without forming a coherent whole. Its critical potential lies in this sustained uncertainty: the image remains recognizable even as the relations that would make it fully intelligible continue to shift.불가능성의 문턱: 한재열의 The Gathering, The Red Sofa 한재열의 The Gathering, The Red Sofa는 처음에는 익숙해 보이는 장면을 제시한다. 붉은 소파, 노란 수트를 입고 서 있는 인물, 그리고 가정적 공간을 암시하는 건축적 요소들이 등장한다. 그러나 이 요소들은 하나의 일관된 공간 안에 자리 잡지 못한다. 소파는 본래의 위치에서 벗어난 듯 보이고, 인물은 그 위에 앉지 않으며, 화면의 구성은 내부와 외부를 안정적으로 구분하기 어렵게 만든다. 처음에는 사람과 가구 사이의 평범한 관계처럼 보였던 장면은 점차 하나의 공간적·시간적 질서 안에서 파악하기 어려워진다. 이러한 불안정성은 반복과 반전으로 이루어진 화면 구조를 통해 강화된다. 인물과 소파는 서로 다른 방향으로 등장하며, 이는 트럼프 카드에 상하 대칭으로 배치된 인물의 구성을 연상시킨다. 여기서 한재열이 캔버스를 돌려가며 그림을 그리는 제작 과정은 중요하다. 화면의 반전은 이미지 내부에 묘사된 단순한 착시가 아니라, 그림을 제작하는 물리적 행위와 연결되어 있기 때문이다. 반복된 인물은 동일한 사람으로 인식할 수 있지만, 두 형상을 하나의 연속된 장면 안에서 자연스럽게 연결하기는 어렵다. 이 구성은 사건의 명확한 순서를 제시하는 대신 서로 다른 방향과 가능한 순간들을 하나의 화면에 동시에 드러낸다. 소속의 불안정성 서 있는 인물은 이러한 모호함의 중심에 있다. 소파는 앉을 수 있는 가능성을 암시하지만, 인물의 자세가 반드시 의도적인 거부를 나타내는 것은 아니다. 그림은 그가 앉으려 하는지, 떠나려 하는지, 혹은 그 자리에 머무르려 하는지를 판단할 명확한 근거를 제공하지 않는다. 대신 인물과 가구 사이의 관계는 해결되지 않은 채 남는다. 익숙한 가정용 가구는 본래의 기능을 알아볼 수 있는 형태로 존재하지만, 그 기능을 의미 있게 만드는 통상적인 공간적 조건을 잃는다. 내부와 외부의 구분 역시 불확실하다. 창문을 비롯한 건축적 요소들은 실내 공간을 암시하지만, 인물과 소파를 둘러싼 일관된 경계를 형성하지는 않는다. 이 그림은 단순히 야외에 놓인 가구를 묘사하는 것이 아니다. 오히려 가정의 내부와 외부를 구분하는 데 사용되는 관습적 기준들이 더 이상 확실하게 작동하지 않는 상황을 구성한다. 관람자는 익숙한 환경의 구성 요소들을 알아보지만, 그것들을 하나의 안정된 공간으로 결합할 수는 없다. 이러한 불확실성은 작품을 특정한 사회적 상황의 삽화로 환원하지 않으면서도 거주와 소속의 문제를 생각하게 한다. 제자리를 벗어난 소파는 가정적 안정성의 취약함을 연상시킬 수 있고, 반복된 인물은 한 개인을 고정된 환경 속에 위치시키기 어려운 상황을 암시할 수 있다. 그러나 이러한 연관성은 확정된 의미가 아니라 가능한 해석으로 남는다. 그림은 특정한 주거 위기를 지목하지 않으며, 인물을 특정 사회집단의 대표자로 설정하지도 않는다. 작품의 모호함은 화면에 나타난 요소들 사이의 가시적인 관계를 통해 유지된다. 반복, 반전, 그리고 미해결의 공간 The Gathering, The Red Sofa는 알아볼 수 있는 형태들과 서로 양립하기 어려운 공간적 배치의 상호작용을 통해 복잡성을 형성한다. 반복은 단순히 대상을 복제하는 데 그치지 않는다. 오히려 그 대상을 지각하는 조건 자체를 변화시킨다. 인물은 익숙하면서도 어디에 위치하는지 파악하기 어렵고, 소파는 평범한 가정용 가구와 주변 공간의 방향을 교란하는 형태 사이를 오간다. 그림은 관람자가 대상을 알아보도록 유도하면서도, 그 인식이 처음에 약속했던 일관성을 흔든다. 이미지의 물질적 구성 또한 중요하다. 한재열이 사용하는 피그먼트 바(Pigment Bar)는 회화 표면에 물리적 차원을 부여한다. 여기서 안료는 단순히 대상을 재현하는 수단으로 기능하는 것이 아니라 물질 자체로 화면에 적용된다. 이미지는 화면의 구조 일부로 남아 있는 몸짓과 물질의 퇴적을 통해 구축된다. 캔버스를 회전시키는 제작 과정과 결합하면서, 이러한 방식은 공간적 모순이 단지 묘사된 것이 아니라 그리는 행위를 통해 구성되었다는 사실을 강조한다. 이 작품은 궁극적으로 하나의 서사적 결말로 수렴하기를 거부한다. 관람자는 반복된 형태들이 서로 다른 순간에 속하는지, 서로 다른 시점에서 바라본 것인지, 아니면 통상적인 원근법으로 조직할 수 없는 공간에 속하는지 확정할 수 없다. 제목은 모임을 암시하지만, 그림은 명확한 사건이나 참여자들 사이의 안정적인 관계를 제시하지 않는다. The Gathering, The Red Sofa는 가정적 삶의 실패를 묘사하기보다 익숙한 신체와 사물, 건축적 기호들이 하나의 일관된 전체를 이루지 않으면서도 어떻게 함께 놓일 수 있는지를 탐구한다. 이 작품의 비판적 가능성은 이러한 지속적인 불확실성에 있다. 이미지는 여전히 알아볼 수 있지만, 그것을 완전히 이해할 수 있게 해줄 관계들은 끊임없이 이동한다. <img width="3600" height="4712" width_o="3600" height_o="4712" data-src="https://freight.cargo.site/t/original/i/b805175244af4b6687b66e3b65678953d5948c7a890effed23006303857a7461/NEW_The-gathering--the-red-sofa_152x198cm_pigment-bar-on-linen_2020.jpg" data-mid="98540579" border="0" src="https://freight.cargo.site/w/1000/i/b805175244af4b6687b66e3b65678953d5948c7a890effed23006303857a7461/NEW_The-gathering--the-red-sofa_152x198cm_pigment-bar-on-linen_2020.jpg" /><img width="3600" height="5478" width_o="3600" height_o="5478" data-src="https://freight.cargo.site/t/original/i/218e740fac8f91b67e2ef4d648f6d4e57964958b11e03235fb32e72be0040b44/Detail_The-gathering--the-red-sofa_152x198cm_pigment-bar-on-linen_2020.jpg" data-mid="98540801" border="0" src="https://freight.cargo.site/w/1000/i/218e740fac8f91b67e2ef4d648f6d4e57964958b11e03235fb32e72be0040b44/Detail_The-gathering--the-red-sofa_152x198cm_pigment-bar-on-linen_2020.jpg" /><img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/b58fd37687fee86eb2cc14f102de4fbdb71271c0b0ec1970f47d1716436186d7/small_DSC02107.jpg" data-mid="66773090" border="0" src="https://freight.cargo.site/w/1000/i/b58fd37687fee86eb2cc14f102de4fbdb71271c0b0ec1970f47d1716436186d7/small_DSC02107.jpg" /><img width="2690" height="2041" width_o="2690" height_o="2041" data-src="https://freight.cargo.site/t/original/i/f37fbe1325de00e3edf97c84f34e077d23b2efaf773d437c4836a46e7980f945/billboard1-1.jpg" data-mid="66771928" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/f37fbe1325de00e3edf97c84f34e077d23b2efaf773d437c4836a46e7980f945/billboard1-1.jpg" /><img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/08a825158a0049bec3f3b666ad99f95f4ade6800ed2c05ad3a5f0514321ec451/Jaeyeol-Han-Gallery-BK_00007.jpg" data-mid="169338607" border="0" src="https://freight.cargo.site/w/1000/i/08a825158a0049bec3f3b666ad99f95f4ade6800ed2c05ad3a5f0514321ec451/Jaeyeol-Han-Gallery-BK_00007.jpg" /><img width="1387" height="1134" width_o="1387" height_o="1134" data-src="https://freight.cargo.site/t/original/i/b7de99eb7a6d2321b6b8925904b3259a865ed41e33162ae340249e46baf40000/1-mockup_red_sofa_v2-db7aeea3.jpg" data-mid="252891483" border="0" src="https://freight.cargo.site/w/1000/i/b7de99eb7a6d2321b6b8925904b3259a865ed41e33162ae340249e46baf40000/1-mockup_red_sofa_v2-db7aeea3.jpg" /> https://jaeyeolhan.com/The-Gathering-Miners Mon, 20 Apr 2020 17:32:07 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/The-Gathering-Miners The Gathering, Miners&nbsp;— Project Bystanders 2020 Pigment Bar on Canvas190 × 130 cm (74 3/4 × 51 1/8 in) Private collection, South Korea<img width="3600" height="5348" width_o="3600" height_o="5348" data-src="https://freight.cargo.site/t/original/i/118362ec8ca1b6ff8f7cbb9fcdae0126cabc635337d0e6a59a3e7fef64a0baca/Painting_Editing_-20210217-035913-.jpg" data-mid="99526745" border="0" src="https://freight.cargo.site/w/1000/i/118362ec8ca1b6ff8f7cbb9fcdae0126cabc635337d0e6a59a3e7fef64a0baca/Painting_Editing_-20210217-035913-.jpg" /><img width="3600" height="2504" width_o="3600" height_o="2504" data-src="https://freight.cargo.site/t/original/i/d3451da55798b16da0646b514fcbe88e915c40b66da25167baa69abf4175876a/Painting_Editing-20210217-040645-.jpg" data-mid="99526670" border="0" src="https://freight.cargo.site/w/1000/i/d3451da55798b16da0646b514fcbe88e915c40b66da25167baa69abf4175876a/Painting_Editing-20210217-040645-.jpg" /><img width="3600" height="2400" width_o="3600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/e2babf39eb02852e899caaca5840096679393ed54b2f55d39a0fdbe6255f635f/Painting_Editing-20210217-040733-.jpg" data-mid="99526671" border="0" src="https://freight.cargo.site/w/1000/i/e2babf39eb02852e899caaca5840096679393ed54b2f55d39a0fdbe6255f635f/Painting_Editing-20210217-040733-.jpg" /><img width="3600" height="3373" width_o="3600" height_o="3373" data-src="https://freight.cargo.site/t/original/i/7a1bc455439a8b64034d8682f69ead242f7fde0dd2b88bb83b4bec9844538a0e/Painting_Editing-20210217-051846-.jpg" data-mid="99526672" border="0" src="https://freight.cargo.site/w/1000/i/7a1bc455439a8b64034d8682f69ead242f7fde0dd2b88bb83b4bec9844538a0e/Painting_Editing-20210217-051846-.jpg" /><img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/f3d12dc9673c10e26b34cc8ce70f0024c5b6ac8cf863256e64b1d6fcb6e0b17d/Jaeyeol-Han-Gallery-BK_00004.jpg" data-mid="169340161" border="0" src="https://freight.cargo.site/w/1000/i/f3d12dc9673c10e26b34cc8ce70f0024c5b6ac8cf863256e64b1d6fcb6e0b17d/Jaeyeol-Han-Gallery-BK_00004.jpg" /><img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/2b3fd2aec39ef19b31174a66a10cd5ee9d33198e41f64b5721516a4cb7b8c6ba/Jaeyeol-Han-Gallery-BK_00005.jpg" data-mid="169340129" border="0" src="https://freight.cargo.site/w/1000/i/2b3fd2aec39ef19b31174a66a10cd5ee9d33198e41f64b5721516a4cb7b8c6ba/Jaeyeol-Han-Gallery-BK_00005.jpg" /> https://jaeyeolhan.com/The-Gathering-Bystanders Mon, 20 Apr 2020 17:32:04 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/The-Gathering-Bystanders The Gathering, Bystanders&nbsp;— Project Bystanders 2020Pigment Bar on Canvas 194 × 130.5 cm (76 3/8 × 51 3/8 in) Private collection, South Korea<img width="1072" height="1600" width_o="1072" height_o="1600" data-src="https://freight.cargo.site/t/original/i/a415e5b48a249ebcabf0aadd703f8c926d52da983e7915f7f7973939052decf7/JPG_The-gathering--Bystanders_130x190cm_Pigment-Bar-on-Linen_2018.jpg" data-mid="67736911" border="0" src="https://freight.cargo.site/w/1000/i/a415e5b48a249ebcabf0aadd703f8c926d52da983e7915f7f7973939052decf7/JPG_The-gathering--Bystanders_130x190cm_Pigment-Bar-on-Linen_2018.jpg" /><img width="2288" height="4096" width_o="2288" height_o="4096" data-src="https://freight.cargo.site/t/original/i/14b7f5b2057b8f7eac2bd2ab6ea8f7a4c1a4482e6bb555b8255491661573bc2c/1-w49.jpg" data-mid="252960198" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/14b7f5b2057b8f7eac2bd2ab6ea8f7a4c1a4482e6bb555b8255491661573bc2c/1-w49.jpg" /> https://jaeyeolhan.com/The-Gathering-a-Man-with-a-Bottle Mon, 20 Apr 2020 17:14:38 +0000 Jaeyeol Han | Contemporary Painter https://jaeyeolhan.com/The-Gathering-a-Man-with-a-Bottle The Gathering, a Man with a Bottle— Project Bystanders 2021 Pigment Bar on Canvas194 × 130.5 cm (76 3/8 × 51 3/8 in) Private collection, South Korea <img width="2500" height="3702" width_o="2500" height_o="3702" data-src="https://freight.cargo.site/t/original/i/a89831b171591150c8c1d3bf5cc8e2afb6beb4be790d5b8fc2a80b4e5b1c4f43/The-Gathering--a-Man-with-the-Bottle_194x130.5cm_Pigment-Bar-on-Canvas_2021.jpg" data-mid="124414910" border="0" src="https://freight.cargo.site/w/1000/i/a89831b171591150c8c1d3bf5cc8e2afb6beb4be790d5b8fc2a80b4e5b1c4f43/The-Gathering--a-Man-with-the-Bottle_194x130.5cm_Pigment-Bar-on-Canvas_2021.jpg" /><img width="2244" height="2804" width_o="2244" height_o="2804" data-src="https://freight.cargo.site/t/original/i/b94f88e51b5647bd67555d43abf000a57ce0bfff7b1a321843abc2df30642551/1-The-Gathering-a-Man-with-a-Bottle-installation-view-v2.jpg" data-mid="253877189" border="0" src="https://freight.cargo.site/w/1000/i/b94f88e51b5647bd67555d43abf000a57ce0bfff7b1a321843abc2df30642551/1-The-Gathering-a-Man-with-a-Bottle-installation-view-v2.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/823e88b211cc7571e335d2b96c374bbd0277ea6b58dd7b289cdb7cb48918da7b/Jaeyeol-Han-Gallery-BK_00007.jpeg" data-mid="146401471" border="0" src="https://freight.cargo.site/w/1000/i/823e88b211cc7571e335d2b96c374bbd0277ea6b58dd7b289cdb7cb48918da7b/Jaeyeol-Han-Gallery-BK_00007.jpeg" /><img width="6240" height="3989" width_o="6240" height_o="3989" data-src="https://freight.cargo.site/t/original/i/8a7c51dbf088d71365a7070fcb41e95effd5600e62b5d25f97c9f2bd45200af5/Jaeyeol-Han-Gallery-BK_00008.jpeg" data-mid="146401528" border="0" src="https://freight.cargo.site/w/1000/i/8a7c51dbf088d71365a7070fcb41e95effd5600e62b5d25f97c9f2bd45200af5/Jaeyeol-Han-Gallery-BK_00008.jpeg" /><img width="2000" height="1152" width_o="2000" height_o="1152" data-src="https://freight.cargo.site/t/original/i/12aa33c91ff85a6bb897c1a3d3b6dddf053bdbe868aed2ada7ded4b61ce98813/Jaeyeol-Han-Gallery-BK_00003.jpeg" data-mid="146401470" border="0" src="https://freight.cargo.site/w/1000/i/12aa33c91ff85a6bb897c1a3d3b6dddf053bdbe868aed2ada7ded4b61ce98813/Jaeyeol-Han-Gallery-BK_00003.jpeg" />