Page 7 - 김연식 초대전 2023. 9. 28 – 10. 7 갤러리모나리자산촌

fantasies into images. These amalgamated clusters of images serve as catalysts that raise questions within the viewer about what
message they are trying to convey.
One intriguing aspect of his work is the realization of the transition from "abundance" to "emptiness" even within image clusters
that lack readability due to their marbling effect, and this transition is also evident in monochromatic paintings such as those in his
Swap series. Furthermore, in his Swap series, the continuous interplay of necessity and chance unfolds in the processes of creation,
transformation, and movement. The media that intervene in his creative process, such as silk paper or vinyl, pull the canvas's
transformation into the realm of chance. When wiping away the paint with silk paper or vinyl as if stealing it from the canvas, the
resulting traces are unpredictable. Similarly, the traces of paint left behind when attaching a balloon filled with air to the partially
dried canvas and then releasing it are also unpredictable. The accidental outcomes that emerge when the artist employs these
media in place of brushes are abundant throughout his work.
In his work, chance intersects with necessity. The inevitability of the artist's choice of media and their use in the artwork, the
inevitability resulting from the artist's minimal intervention, the unpredictability left by the encounter between paint and media
in motion, and the inevitability imposed by scientific interactions of materials – all these aspects coexist within Jeongsan's work,
where necessity and chance intersect. However, this intersection is not sequential but rather occurs simultaneously, giving rise to
processes of creation, transformation, and movement.
In this dimension, we can aptly refer to his paintings not as spaces of "being" (être) from Deleuze's perspective but as spaces of
"becoming" (devenir). This sense of becoming constantly defers our existence from being something definitive. It is because our
existence is always made up of uncertain movements, transitions, and generative changes, arising from the events we experience.
Here is where his intention is discerned. What does Jeongsan aim to convey through his Swap series? It signifies an embrace of
"randomness", which means "not deliberately adorned or added to." It is about opening the path of chance through the creative
act, akin to play or meditation, where the artist and the medium allow randomness to emerge and reveal necessity. Jeongsan,
in his work, positions himself not as a master but as a collaborator within the order of the universe, stepping back from being an
owner and participating in his work with minimal intervention. In other words, he practices "random acts".

IV. Indiramang - The Interconnectedness of All Things
What is the ultimate exploration that Jeongsan Kim Yeonsik aims to present through his Swap series, showcasing the transition
from "fullness" to "emptiness" or sharing and the intersection of necessity and chance in "random acts"? The thematic core he
introduces in the form of five exhibitions structured like a symphony comes together in the concept of Indiramang.
The Chinese representation of the Sanskrit term "indrjala," which means the net of the god Indra's residence, covers the top
of Seon-gyeong-seong (the name of castle), the abode of the ancient Indian mythological deity Indra. This net is described as
"every knot in the net has a jewel, and the lights coming out of it overlap infinitely, creating a mysterious world." Just as the term
"Indiramang-kyeong-gye-mun" is used in Buddhism to signify "the Buddha residing everywhere in the world," the concept of
Indiramang within the artist's work conveys the teaching that all things in the universe are interconnected.
It originates from the principle of "dependent origination" (pratītya-samutpād) in Buddhist Avatamsaka philosophy." the
concept of “Yeongi”, which abbreviates "Inyeonsaenggi" (dependent origination, pratītya-samutpād), conveys the "law of the
interdependent relationship of arising and ceasing" within the context of phenomena. It suggests that all conditioned phenomena
(youi) come into being through the mutual relationship of causes (hetu) and conditions (pratyaya). In essence, it signifies that "all
phenomena and things do not exist in isolation but are inextricably linked through interdependent relationships, and thus, the
processes of arising and ceasing are always characterized by interconnectedness." This description resonates with how Jeongsan
Kim Yeonsik's work serves as a mediator, connecting concepts like fullness/emptiness and necessity/chance.
Indeed, the law of interdependence encapsulated in Indiramang's concept brings forth a philosophy of existence and non-
existence that unifies even opposing concepts like (color/emptiness) or (birth/death) into a single concept, as seen in phrases
like (form is emptiness, emptiness is form), (birth and death are not separate), or (birth and death are one and the same). In
Buddhist philosophy, all existence is intricately bound together through the technique of (infinite interpenetration), signifying that
everything in the universe is interconnected in an infinite web of relationships.
Through his Swap series, which encompasses the truth of "the interconnectedness of all things" represented by Indiramang,
Jeongsan Kim Yeonsik is completing the third movement of his symphony and plans to showcase the remaining fourth movement
in the future. Alongside his previous works, this exhibition serves as a primary catalyst for anticipation, raising questions about
what it is and how it will unfold.

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