IN KYEONG

Inkyung’s work invites us to ask new questions about the everyday objects we often overlook. The pieces that emerge from her meticulous process are not mere reproductions or decorative renderings; they are profound explorations of consumption, labor, and time in contemporary society. Through countless acts of repetitive labor, she deconstructs the signs and symbols embedded in the surfaces of objects, revealing the essence that lies beneath.

Her practice involves the reconstruction of objects through repetitive labor and a deliberate slowing down of time. This is not merely an act of material manipulation but a generative process that breathes life into the traces of time and human effort embedded within the material. By doing so, her work challenges the rapid pace and disposability of modern life, raising fundamental questions about value and permanence.

The objects she engages with may initially appear banal or mundane—everyday items from our lives that we rarely pause to consider. However, through her hands, these objects shed their familiarity. By dismantling their symbolic structures and layering them with newly accrued time, she unveils the memories and intrinsic values hidden within. Her work transcends surface aesthetics, delving into the ontological weight of the objects she examines.

This process is not merely about deconstructing and reconstructing objects; it is an act of performative labor that reclaims the inherent value of these items through the elements of repetition and time. Thousands of pins and layered materials give her pieces a physical density, while the process of accumulation visualizes human effort, care, and the passage of time. Her work resonates deeply with the aesthetic philosophy of slowness and repetition and engages with the enduring questions of existence that contemporary art often seeks to address.

Her creations speak to the audience in silence. A closer look reveals the tactile texture and intricate layers created by the pins, while from a distance, the work takes on a grand and cohesive form. Before her pieces, viewers are compelled to pause, as everyday items—imbued with the weight of time—are transformed and reborn.

Inkyung’s work transcends mere visual experience to offer a profound reconsideration of the relationships between objects, humans, and time. It stands as a counterpoint to the rapid consumption and fleeting nature of modern life, reclaiming the value found in material and labor. Her art records the passage of time and elevates the ordinary and the overlooked into philosophical and essential works of art.

Ultimately, her practice is a process of revisiting the meaning and value of objects. The items we pass by every day are no longer mere objects. Under her touch, they are imbued with new vitality and provoke the question, “What constitutes true value?” Her work deeply aligns with contemporary art’s pursuit of time, labor, and the essence of materiality.

Currently, Inkyung’s pieces are part of major collections at the Gimcheon Museum of Art, the Suwon Art Exhibition Hall, and Insa Gallery. Her works transcend visual beauty, delivering philosophical reflections on the connections between contemporary society and humanity. These collections reflect the cultural and artistic significance of her creations, affirming their place within the vital discourse of contemporary art.