Zeeon Zheon

Statement

I regard my work as diagrams of extra dimensions, of geology that is hard to perceive as a human being without specific engineering technology, and of my geographical and psychological unconscious. The artwork is the reification of externalized unperceivable realms. Also, it is the capture of the continual alternation of unperceivable spheres and perceptible spheres. At the moment of perceiving the unperceivable layer, a boundary between the perceptible and the imperceptible is generated. At the same time as the perceivable becomes recognized as the manifestation of the unperceivable, the boundary becomes fluid. The moment of awakening, the moment of formation and transformation of the boundary modifies the form and the structure of space. That is, my work can become an element to animate the space. Not only I regard the presence of my artwork itself as an element for creating boundaries in space, but also it formally shows the relation between space and a boundary. Most of my sculptures have boundaries formed by holes, crease, seams, and colors. They are the marks of the creation of space. They eliminate, redefine, or blur interior and exterior.

GlogauAIR Project

During the GlogauAir Artist in Residency program, I do the project, “Inter-Spaces.” This is my artistic practice of the formation and systematization of interspaces that connect and separate spaces. Various possibilities of the layout of passages and walls were studied and designed for the project. The passages function as media to link one place to another. They also divide a space into parts while creating boundaries of the divided spaces. The walls can be the structural elements for forming the passages and also can determine the shapes of the passages. This project is an example to visualize spatialization and structuralization of interspaces. In an aspect of production process and materials, epoxy putty, silicone sheets, strings, wire mesh, plaster bandages, and acrylic paint could be used for hand-made sculptures. The sculptures also could be made with digital production tools and be materialized with 3D printers.

CV Summary

Education

• 2011. 09. – 2013. 05. Master of Fine Arts, in Fine Arts, California College of the Arts, San Francisco, CA, USA
• 2010. 09. – 2011. 05. Art and Technology, The School of the Art Institute of Chicago, Chicago, IL, USA
• 2004. 03. – 2008. 02. Bachelor of Fine Arts, in Painting & Print Making, Ewha Womans University, Seoul, Korea
• 2006. 06. – 2006. 12. Exchange program, in Painting, Rhode Island School of Design, Providence, RI, USA

Exhibitions

• Solo
• 2017 PASSAGE SPACES, Artspace BOM, Suwon, Gyeonggi, Republic of Korea
• 2013 JiEun Chun, Tyler Wood Gallery, San Francisco, CA
• Group
• 2013 APAture’13: A Window into the Art of Emerging Asian Pacific American Artists, Arc Studios & Gallery, San Francisco, CA
• 2013 2013 MFA Thesis Exhibition, California College of the Arts, San Francisco, CA
• 2013 Listen To Your Eyes, California College of the Arts Production Stage, San Francisco, CA
• 2013 The Annual Murphy and Cadogan Contemporary Art Awards Exhibition, Delta College Gallery, Stockton, CA
• 2012 The Annual Murphy and Cadogan Contemporary Art Awards Exhibition, Somearts Cultural Center, San Francisco, CA
• 2012 That wasn’t Too Easy, Leesa Phranq Gallery, San Francisco, CA
• 2012 John Baldessari: Class Assignments, (Optional), Wattis Gallery, San Francisco, CA
• 2010 Wanderers’ Notes, Samcheong Gallery, Seoul, Korea
• 2008 NGAF(New Generation Art Fair), Ether in a Coffee Cup, Seoul, Korea
• 2008 2nd Second Play, Opp Gallery Cafe, Seoul, Korea
• 2008 ASYAAF(Asian Students and Young Artists Art Festival)-When We First Met, Seoul Railway Station Old Building, Seoul, Korea
• 2008 Cafe Art Market, Ether in a Coffee Cup, Seoul, Republic of Korea

Awards

• 2012 The Edwin Anthony and Adelaine Bordeaux Cadogan Award

Gallery