Humans activate mechanisms of fantasy in order to escape from their oppressions in reality. Jung Hyeryun makes fantasies to expose the oppressions she experiences in society, and to create a world of sensibility free from such oppressions. They are the fantasies of the amusement park, which remain in her childhood memory. In Jung's works, the form of the amusement park is a medium to replay childhood memories and a device to amplify them. But the amusement park does not merely serve as a medium that is mobilized to represent the memory. She expands and reproduces the significance of the curves that appear in the amusement park. Jung Hyeryun releases amorphous drawings into the picture-plane and space. She uses a sensuous method of expression that stimulates the visual sense by utilizing the element of form called the curve. Jung's curves metaphorically show the methods in which memory exists. She does not depict the existence of memory rationally, but instead, scatters it about sensuously.
For a while, Jung Hyeryun had made figurative works where certain forms were created with leather, and various icons were engraved on the surface. In this process, she established a strong image for herself as an artist who works with leather, as she dug into the characteristics and effects of the material. This made her into an artist who makes peculiar works with specific material, in other words, an artist recognized for her "particular style." Here, we may think about how the narrative and style are placed in a relationship of mutual conflict and supplementation in visual art. In some cases, the artist's thought seems to create the methodology, but the methodology created by the artist then re-produces thoughts and sensibility for the artist. In a situation where the beginning and end of the act of work can be difficult to determine, Jung has transformed her code from leather to wood, from the second dimension to the third dimension.
Memory of Fantasy 1 is a world of visual distraction consisting of overlapping amorphous circles. This work does not arrange neat perfect circles in an orderly fashion, but overlaps irregular ellipses or spirals. Such collective free lines are recomposed into circular movement to create illusions. The work is the result of recomposing a pencil drawing. Jung made numerous spiral drawings, recomposed them through digital editing, and then transferred them onto birch panels. The 11 panels themselves are overlapped in several layers, not only showing the world of chaos in place of order, but also creating even more disturbing optical illusions as electric motors rotate in circular motion. Spectators facing the work, in which disks of different sizes and shapes rotate at different speeds, may experience an optical illusion as if they were being sucked into a world of infinity. This suggests not a memory as an organized narrative structure, but memory as a fantasy system.
When the lines that split the flat plane are expanded into lines that drift in space, we fall into a world of even deeper imagination. Memory of Fantasy 2 is an amorphous spatial drawing, which takes the flowing lines drifting in space, bends them and connects them with amorphous lines. This work is not a world of straight lines, but a world of curves, and shows the memory of fantasy linked to an infinite world through the resonance of lines as an amorphous space in a compressed manner. The work, which elaborately weaves wooden lines made by cutting birch panels within a 4 meter by 4 meter space, creates not only a physical space, but also a psychological one. It is not a static empty space, but a full space in a state of fluidity. It is not merely a solid space drawing, but a world of fantasy that urges for the liberation of sensibility through the rhythm of moving lines.
Memory of Fantasy 3 is a three-dimensional sculpture in which rides from an amusement park are placed on top of a hat form made by connecting wooden panels. The hat is a medium which brings back childhood memories. Jung takes photographs of people at various locations which remain in her memory, and place this hat on the heads of those figures. The actual wooden hat, and the wooden hat represented through the photographs create a new story in terms of combination of style and narrative. Memory of Fantasy 4 is a work built out of the simple narrative of an amusement park on top of a magic umbrella by putting a model amusement park that spins at one's breath on a round panel and then attaching an umbrella-shaped support beneath. Both works, which add the image of the amusement park on top of forms of specific objects―hat and umbrella―make the most of the elegant feeling of lines in the birch panels themselves and the elaborately cut lines of thin leather to construct a cozy fantasy of a fairy tale world.
Rather than adding order and regulation to her works, Jung Hyeryun adds disorder and irregularity, thereby avoiding unilateral communication of messages and making thick layers of significance. Human behavior fundamentally tries to lower the level of disorder, which wants to return to the natural state, in other words entropy, and tries to raise the level of order, which wants to tie it to an order of the artificial state, in other words, negentropy. Art since the modern times has adjusted the speed and quantity of the communication of information by reducing negentropy or raising entropy. In other words, art based on modern aesthetics was established by reducing information concerning meaning stressed by pre-modern art, and strengthening aesthetic information by lowering the level of order. Jung's works also show a strong tendency of increasing the disorder level and reducing the order level. This is because she reduced the significance as representation and increased the aesthetic information as expression by condensing artificial objects consisting of an orderly structure into a world where amorphous curves flow without order.
Jung is in the process of gradually changing her previous attitude, trying to reveal the structure of society through personal sensibility. Particularly in the works featured in this exhibition, she attempts a simpler and clearer arrangement. This is a result of gathering the fragmented pieces of memory into the world of fantasy. Retreating one step back from compulsions of narratives such as social oppression or personal alienation, by revealing her memories as fantasies which exist in her sensibility, she conjures her memories as the source of sensibility scattered within her sense system, rather than memories as rational judgment or grounds for criticism. From the memories of the remote past to those from the near past, Jung Hyeryun expresses the individual memories organized by our brains not as something orderly, but as a world of chaos. That is to say, rather than weaving memories of the past into a world of order, she disperses them into a fragmented world of confusion. That is because she knows all too well that our memory is not a mechanism that recomposes the reality, but a world of chaos and disorder, and a mechanism of fantasy.