Exhibition Information

			No matter how well you try to move what you see, there is a gap between what you see and what you draw. This is because the shape is twisted in the process of putting it into the eye and taking it out by hand. Ryu Min-ji captures movements in between as she moves her hand to produce images.

This exhibition is a compilation of images of trees drawn by Ryu Min-ji. The image we read as a tree and the image of a real tree is very strangely different. So the idea of trees, the idea of trees, the image of trees that have been seen, and the existence of trees is something that seems to be connected, but actually works in different ways in different worlds.

But the art of image making, in itself, is a way to connect, tear, and even play between worlds. One dot on the canvas is an indicator of the movement of the author's arm, a diagram of the leaves, and a symbol of the entire existence of the tree. But again, it's a paint on a cloth. What we have in our heads and what we see in front of us now are covered up and quickly reversed.

The author paints the twinkling things in the movement, the twittering things. It creates shapes between being exposed and being invisible and moving and not moving. The things that reveal the shape of Liu Min-ji's screen, which is made from a bright, transparent layer to a thick, heavy layer, are actually seen as the edges of which are scattered by light. They're the shapes that are moving in themselves, and they're the moving ones that are moving us. And again, we have to move our bodies constantly to get the image that exists as matter into our eyes.