Hyunkyung Cheon

Maps are one of the indicators by which we perceive the Earth, and while they contain detailed information about the land, no information is shown about the ocean. ‘Blue emptiness’ is a one- year research project to learn about the ocean, a distant world we do not know about. This work was about ‘Northsea’ located in Northern Europe and ‘Eastsea (Sea of Japan)’ located in East Asia, and I traveled to each country bordering the sea, investigated each terrain and collected, classified, and analyzed objects that drifted on the beach The sea is dynamic and carries a variety of things. The collected objects tell complex stories, from forests under the sea and landscapes of a long-ago Ice Age, to heavy metal pollution, the steel industry, the fishing industry, and even drug drug trafficking. The analyzes and experimental processes with the various materials collected from the sea aim to go beyond productivity and commercial values to learn about and understand life in the sea, trace the time and movement left behind, and gain insight into various crises. . In the era of climate crisis, this work seek to break away from the attitude of treating the sea only as a resource or commodity and to discover the value of the sea’s existence by respecting the sea world that lives in a different time and space from ours. Through this, I would like to talk about sustainability in a different direction than before.

Maps are one of the indicators by which we perceive the Earth, and while they contain detailed information about the land, no information is shown about the ocean. ‘Blue emptiness’ is a one- year research project to learn about the ocean, a distant world we do not know about. This work was about ‘Northsea’ located in Northern Europe and ‘Eastsea (Sea of Japan)’ located in East Asia, and I traveled to each country bordering the sea, investigated each terrain and collected, classified, and analyzed objects that drifted on the beach The sea is dynamic and carries a variety of things. The collected objects tell complex stories, from forests under the sea and landscapes of a long-ago Ice Age, to heavy metal pollution, the steel industry, the fishing industry, and even drug drug trafficking. The analyzes and experimental processes with the various materials collected from the sea aim to go beyond productivity and commercial values to learn about and understand life in the sea, trace the time and movement left behind, and gain insight into various crises. . In the era of climate crisis, this work seek to break away from the attitude of treating the sea only as a resource or commodity and to discover the value of the sea’s existence by respecting the sea world that lives in a different time and space from ours. Through this, I would like to talk about sustainability in a different direction than before.

Maps are one of the indicators by which we perceive the Earth, and while they contain detailed information about the land, no information is shown about the ocean. ‘Blue emptiness’ is a one- year research project to learn about the ocean, a distant world we do not know about. This work was about ‘Northsea’ located in Northern Europe and ‘Eastsea (Sea of Japan)’ located in East Asia, and I traveled to each country bordering the sea, investigated each terrain and collected, classified, and analyzed objects that drifted on the beach The sea is dynamic and carries a variety of things. The collected objects tell complex stories, from forests under the sea and landscapes of a long-ago Ice Age, to heavy metal pollution, the steel industry, the fishing industry, and even drug drug trafficking. The analyzes and experimental processes with the various materials collected from the sea aim to go beyond productivity and commercial values to learn about and understand life in the sea, trace the time and movement left behind, and gain insight into various crises. . In the era of climate crisis, this work seek to break away from the attitude of treating the sea only as a resource or commodity and to discover the value of the sea’s existence by respecting the sea world that lives in a different time and space from ours. Through this, I would like to talk about sustainability in a different direction than before.

Maps are one of the indicators by which we perceive the Earth, and while they contain detailed information about the land, no information is shown about the ocean. ‘Blue emptiness’ is a one- year research project to learn about the ocean, a distant world we do not know about. This work was about ‘Northsea’ located in Northern Europe and ‘Eastsea (Sea of Japan)’ located in East Asia, and I traveled to each country bordering the sea, investigated each terrain and collected, classified, and analyzed objects that drifted on the beach The sea is dynamic and carries a variety of things. The collected objects tell complex stories, from forests under the sea and landscapes of a long-ago Ice Age, to heavy metal pollution, the steel industry, the fishing industry, and even drug drug trafficking. The analyzes and experimental processes with the various materials collected from the sea aim to go beyond productivity and commercial values to learn about and understand life in the sea, trace the time and movement left behind, and gain insight into various crises. . In the era of climate crisis, this work seek to break away from the attitude of treating the sea only as a resource or commodity and to discover the value of the sea’s existence by respecting the sea world that lives in a different time and space from ours. Through this, I would like to talk about sustainability in a different direction than before.

Maps are one of the indicators by which we perceive the Earth, and while they contain detailed information about the land, no information is shown about the ocean. ‘Blue emptiness’ is a one- year research project to learn about the ocean, a distant world we do not know about. This work was about ‘Northsea’ located in Northern Europe and ‘Eastsea (Sea of Japan)’ located in East Asia, and I traveled to each country bordering the sea, investigated each terrain and collected, classified, and analyzed objects that drifted on the beach The sea is dynamic and carries a variety of things. The collected objects tell complex stories, from forests under the sea and landscapes of a long-ago Ice Age, to heavy metal pollution, the steel industry, the fishing industry, and even drug drug trafficking. The analyzes and experimental processes with the various materials collected from the sea aim to go beyond productivity and commercial values to learn about and understand life in the sea, trace the time and movement left behind, and gain insight into various crises. . In the era of climate crisis, this work seek to break away from the attitude of treating the sea only as a resource or commodity and to discover the value of the sea’s existence by respecting the sea world that lives in a different time and space from ours. Through this, I would like to talk about sustainability in a different direction than before.

Rusty times is the small installation for the provincehuis. Most of the rock and slag found in the Zandmotor was pulled from the depths of the North Sea. ‘Rusty Time’ is a sculpture made of rock and slag powder and visualizes time in the North Sea region through their color range. This work is a metaphor for the hidden landscapes under the sea and their various meanings about time.

A person’s inner feelings and thoughts are so intense and wild at the time that it is difficult for even oneself to understand or accept them. This work is a story about listening to and exploring our inner voice through the metaphor of fermentation. For me, fermentation starts with something breaking down. The big and small shocks of life leave ripples on me and cause change. Yeast is a trigger and causes fermentation, and the process of breaking and changing my thoughts and emotions is similar. I was inspired by pottery and the series of processes in which pottery is made and failed, and converted these somewhat abstract processes into installation work.

A person’s inner feelings and thoughts are so intense and wild at the time that it is difficult for even oneself to understand or accept them. This work is a story about listening to and exploring our inner voice through the metaphor of fermentation. For me, fermentation starts with something breaking down. The big and small shocks of life leave ripples on me and cause change. Yeast is a trigger and causes fermentation, and the process of breaking and changing my thoughts and emotions is similar. I was inspired by pottery and the series of processes in which pottery is made and failed, and converted these somewhat abstract processes into installation work.

A person’s inner feelings and thoughts are so intense and wild at the time that it is difficult for even oneself to understand or accept them. This work is a story about listening to and exploring our inner voice through the metaphor of fermentation. For me, fermentation starts with something breaking down. The big and small shocks of life leave ripples on me and cause change. Yeast is a trigger and causes fermentation, and the process of breaking and changing my thoughts and emotions is similar. I was inspired by pottery and the series of processes in which pottery is made and failed, and converted these somewhat abstract processes into installation work.

‘Scentscape’ is a work about the Dutch peatland and its memories, which have been continuously changing for hundreds of years. I connect the forgotten landscape and the present through the sense of smell, which is most closely related to memory. Some whiskeys have a peat Flavour. Hundreds of vears a go, the land in the Netherlands was covered with peat. Nowadays, only 8 percent of the land contains peat, and previous peatland, including Amsterdam, The Hague, and Rotterdam, do not show any trace of those former peatlands. My journey with peat leads me to discover these forgotten landscapes, memories, and some of the clues that are still there, deeply hidden. I research dutch history, culture, people, and the traces of peat that are still left, the process of them forming and disappearing, connecting them, and conveying back to the scents I find. Scent is the oldest and instinctive sense in our brain annd it is the most closely connected to memory. I explore the dutch landscape through scent, and I communicate with vou how it feels.