Life is on a continuum Objects settled in the SooYeon Hong’s works do not posess a distinctive form. Therefore, the monochrome side that fills the whole frame catches our eyes first. About the time we are immersed in the solitude emitted from the monochrome side, the delicate tremble that shakes the tranquility is captured. Although that something which cannot be labeled seems like a crystallized image because it does not have a form, it shows its afterimage at the very next minute. The contour of the image is not fixed but slides into the mysterious moment between segments. However, the working method of Soo-Yeon Hong is the opposite. Rather, it progresses with thorough calculation and intention. The calculated slope of the canvass, the transparency created by having certain amount of paint float on top of another layer and the next, and the timelines acquired through this. Through these elements, a layer is a form yet something that exists as the afterimage of the next form. This sort of structure can be recognized as an another form. However, as these layers become accumulated, the whole screen is recognized as the fluid image that slowly evolves. Even when trying to define it by segmenting it into a minimum unit, it evolves towards yet another point.
Reiteration and overlap, exposure and concealment, that is, meaning is achieved by ‘layers’, not by ‘a layer.’
– Excerpt from critic by Dae-Beom Lee, Art critic
