Installation view of artist Choi Yoon-hee's mini-exhibition, "Tuning In," at TINC (This is Not a Church), a church-turned-independent project space, in Seongbuk District, northeastern Seoul / Courtesy of the artist and G Gallery By Park Han-sol It was the first week of June, just days before Korea’s first heat wave of the year. Inside what was once a small town church in Seongbuk District, northeastern Seoul, bright summer sunlight streamed through rows of vertical slit windows. The sunbeams fell upon swarms of painted sinuous lines and colored planes drifting across the building's mint-hued walls.
And as the light shifted with the passing of time, different clusters of feverish strokes shimmered in succession, slowly coming to life. Such was the quiet spectacle that greeted me upon arriving at TINC (This is Not a Church), a church-turned-independent project space, where emerging artist Choi Yoon-hee's mini-exhibition, "Tuning In," is currently on view. Throughout her creative odyssey, Choi has focused on transferring the lingering afterimages of her bodily sensations and impressions gathered from the external world onto canvas via gestural brushstrokes and smeared paints.
Her ongoing presentation is a mini-show in terms of the number of featured works — just three from her latest "Time Standing in a Passage" series — but by no means does it feel that way due to their sheer scale. The size of the oil paintings — each 6 meters in length and 2.6 meters in height, making.
