YOUNGJU JOUNG: WAY BACK HOME
Almine Rech London is pleased to present Way Back Home, Youngju Joung's solo exhibition with the gallery.
November 14 – December 20, 2024
Joung Youngju’s paintings of Korean shanty towns are imbued with elements of the country’s history and society, down to their very fibre. The artist has developed her own technique of applying small pieces of the traditionally and locally made hanji paper onto the surface of the canvas to provide depth and texture to her subjects. The tradition of hanji paper, made from the bark of the indigenous paper mulberry tree, dates to around the third century; it absorbs sunlight, giving the material a warm hue. Due to its durability, water resistance, and permeability, hanji paper is used in traditional Korean houses—covering floors, walls, ceilings, windows, and doors—to help control temperatures and protect from the elements.
There is a satisfying resonance in Joung’s use of the paper that makes up traditional Korean houses as a mode to depict them in her contemporary art. The artist has worked with hanji paper since 2007, starting her works with a pencil sketch and then adding small pieces of cut hanji paper, wrinkling them with a knife and layering them from the bottom up before applying acrylic paint. The crumpled effect reflects the materiality of the old, worn buildings and their vulnerability in the modern world.
The light that emanates from Joung’s paintings are central to the work. Capturing her landscapes at dusk and dawn allows for a focus on the soft , ethereal glow coming from the buildings themselves. The lights are representative of the individuals inside and are intended to denote the warmth of people and a sense of shared humanity in a world that is increasingly individualised. Joung methodically paints the same subject matter, obsessively focussing on the subtlety of the light and how it stretches endlessly into the distance. She quietly experiments with the illuminations—while earlier works used to show more light coming from within the houses, she now depicts more lights on the outside; the luminosity is becoming increasingly warm and mellow to represent her nostalgic fondness for her subject and a sense of hope for humanity.
Her focus on traditional buildings, landscapes and nature, eschewing the onslaught of modern development and infrastructure, speaks to a growing social desire globally to return to simpler times and lifestyles. Joung’s muted palette, glowing ambience. and meditative repetition respond to a heightened sense of nostalgia in our modern age.