Lee Hyun Joung, after studying Fine Arts in South Korea, came to settle in France and more particularly in Paris where she continues to transmit through her works an ancestral know-how that she transforms and adapts to a more contemporary vision. Her works are created on an ancestral Korean support that is Hanji paper. She reworks it in her own way in order to create her own support.
From there she works with the ink that she manufactures using Korean stone as well. From the beginning to the end of the creative process, Lee Hyun Joung invests herself physically and intellectually in each drawing. Her line, like a lifeline, is filled with delicacy. A story to be told, to be told with the brush, with the line. Lee Hyun Joung traces through her work the unique story of a life path. The image of an exodus, of a poeGc quest whose only end is the contours of the paper. The repeGGon of her line
brings her back to the iniGal point and projects her towards an elsewhere. Create landscapes that are as similar as they are unique. The migraGon of the line, a back and forth, a slow and methodical, meGculous gesture that deconstructs and rebuilds a landscape. Lee Hyun Joung tells us about a common desGny, that of an inGmate journey in which each line is a thread of life that is told.
Between each uninterrupted line, the blank space leJ vacant on the paper is not an inacGve blank space. It corresponds to the idea, widely held in Taoist thought of empGness and fullness, that the interval is what makes the connecGon between visible objects. And it is precisely aJer a period of silence, points out Lee Hyun Joung, that a line emerges: something happens against a background of nothing.
