People of the Court | Elevating the Bare Face of Naesoong into Art

Elevating the Bare Face of Naesoong into Art

The women in these paintings, dressed in elegant hanbok, sit comfortably eating ramyeon or a hamburger, get absorbed in their phones, or play games excitedly — seemingly unconcerned with anyone's gaze. Kim Hyun Jung's paintings, which wittily blend traditional Korean painting with the appearance of contemporary people, feel both unfamiliar and familiar at once, capturing viewers' attention. Looking at her work, it connects so closely with our everyday lives that you might mistake the model in the painting for yourself. We met Kim Hyun Jung, who began with the 'Naesoong series' and has since expanded into a diverse artistic world through numerous collaborations.

Written by Noh Cho-rong + Photographed by Hong Seung-jin

Work That Adds a New Perspective to Hanbok

Near a royal palace or a hanok village, you can often spot people wearing hanbok. Unlike in the past, when wearing hanbok felt uncomfortable unless it was a special occasion like a holiday or a wedding, hanbok these days is worn more freely than ever in everyday life. What once felt somewhat unfamiliar is now settling in as a natural, everyday occurrence. And here too, the hanbok appearing in Kim Hyun Jung's paintings sparks interest by prompting a shift in perspective.

"I made hanbok my main motif to metaphorically express the gap between outward appearance and inner reality, through the contrast of engaging in everyday behavior while wearing hanbok — a garment that symbolizes formality and elegance. At the same time, I use hanbok as a key subject in my work to suggest the freedom that comes from deviating from convention."

Kim Hyun Jung says she began paying serious attention to hanbok once she started painting Korean-style, but she's loved hanbok since childhood — enough that her affinity for its lines, colors, patterns, and elaborate accessories almost feels innate. That preference is well reflected in the diverse colors and designs throughout her work.

"Collaging thin hanji dyed in ink over a nude figure, so that the figure shows through, was a technique I devised to express the idea, 'you're trying to hide it, but I can see right through you.' Also, when you wear and move around in hanbok, it makes a distinctive rustling sound, and I struggled with how to express that rustle of fabric in a painting. The idea that suddenly came to me was to layer hanji onto the figure in the painting, as though dressing them, the way a person puts on clothes."

Given the abundance of empty space characteristic of Korean painting, composing the canvas purely in ink-wash risked feeling monotonous and dull — the collage technique maximizes the see-through effect to counter that. This technique adds tension and interest for viewers, and brings out the texture and feel of hanbok (particularly the jeogori) especially well.

The Pleasure of Confronting Contemporary Naesoong

Kim Hyun Jung created a huge sensation with her 'Naesoong series,' which wittily pokes at the inner selves contemporary people try to hide. Her 2013 solo exhibition 'Naesoong Story' drew about 25,000 visitors, and her 2016 solo exhibition 'Naesoong Amusement Park' drew nearly 70,000. She has also secured a devoted fan base through active social media activity, with a passionate response reflected in her roughly 160,000 followers. Where does the playful concept behind the Naesoong series originate? Kim Hyun Jung says it's simply a self-portrait projecting her own image.

"Looking back, I was a person sensitive to other people's 'gaze.' The stress that caused me was considerable too. With a mindset of 'what about you?', I began painting the contradictory behavior of people around me, where outside and inside differ — and as I kept painting, I began to see my own familiar reflection. Reflecting that I myself was no different from them, I started to look seriously into myself."

Kim Hyun Jung says that to free herself from being bound by others' gaze, and to find her own center of gravity, she spent time asking herself, 'what kind of person am I?' or 'what kind of person should I become?' Through that process, she was able to continue the work that became 'Naesoong Story.' Perhaps it's because she captured moments from everyday life and honestly expressed the problem of social convention through her own perspective that so many people could resonate with her work the moment they saw it.

"The dictionary definition of Naesoong is 'pretending to be gentle on the outside while being sly underneath,' but in my work, 'Naesoong' refers to any attitude of presenting an outward appearance different from one's true feelings in order to satisfy others' gaze or conventional evaluation. Regardless of gender, I think Naesoong is the common 'inconsistency' that emerges from the universal desire to be recognized by others — that is, from wanting to hide one's shortcomings and show a good side. In the end, I also think of it as a phenomenon in which the individual concedes their sense of self to social convention."

Cheerful Art That Reflects Reality

Kim Hyun Jung, who held the exhibition 'A Tray of Eggs, Age to Marry' around last year's Chuseok holiday, said that previously she hadn't filled in the backgrounds of her paintings, but as she painted her thoughts about marriage, she was able to fill that empty space more richly. Since her work expresses her inner self, she says that if she gets married and has children in the future, she'll be able to complete an even more diverse range of work.

Capturing scenes from our surroundings and everyday life through hanbok-clad women on canvas, she adds that above all, she tries to reflect a sense of 'cheerfulness.'

"Every painter has a different aim for their work. Some like to express things heavily and profoundly, others prefer a plain, understated expression. I try to express my work as joyfully and cheerfully as possible. In this harsh world, I hope people can find comfort and laughter through art. To deal with subjects like others' gaze or social convention, which can be somewhat abstract and sensitive, I think that cheerful element becomes even more necessary. So I try to maintain that cheerfulness in everything from composition and imagery to titles and exhibition design. I hope viewers, too, can use this cheerfulness and enjoyment as an occasion to project their own identity or sense of self."

Starting with reactions like "this is fresh" and "this is fun," and more recently with comments like "I relate to this" and "this is exactly my story," Kim Hyun Jung's work has not only made Korean painting feel closer to people than before, but has also brought about significant changes in how people perceive Korean painting. Beyond exhibiting her work, she's actively pursuing art collaborations with companies and institutions, drawing strong responses both in Korea and abroad — what will her next turning point be?

"These days I'm working on a series of parodies of famous paintings. I'll be greeting you with playful parodies of famous works — like a self-portrait of the Mona Lisa decked out in luxury goods, or a scene of eating cereal for breakfast after marriage — reworked with wit. If you have a good idea, feel free to suggest it via social media, and I'll happily take it into consideration."

Kim Hyun Jung finished the interview as candidly and vivaciously as if the woman in her paintings had stepped right out of the canvas. Even though her next works remain unfinished, one can't help but wonder how fresh and cheerful they'll be — perhaps because the figures in her paintings capture none other than us, living in the present moment. That's exactly why her continued growth, faithfully expressing the inner self and bare face of contemporary people on canvas, is something to look forward to.

Naesoong: Mirror, Mirror on the Wall, Who's the Fairest of Them All? / 2016 | Ink and light color with collage on hanji | 139 x 110cm

Naesoong: Trembling / 2013 | Ink and light color with collage on hanji | 67.5 x 60cm

Korean Painter Kim Hyun Jung

A Korean painter who paints the genre scenes of the 21st century. She has drawn great attention by reinterpreting the realities of modern women through satire and humor, expressed with hanji collage and a distinctive brushstroke. Her genre paintings are mostly understandable at a glance, and she is credited with lowering the threshold of the art museum and contributing to the popularization of Korean painting. Thanks to her sharp reading of the complex, subtle emotions of young women, she is also known as 'the idol of Korean painting.'