Woonjoong Gallery proudly commemorates its fifth anniversary. Founded in a serene corner of a residential district in Unjung-dong, Seongnam-si, Gyeonggi Province, its inception marked a bold endeavor, a venture into the unknown. Five years later, any initial uncertainties have gracefully receded, as the gallery has firmly established its presence. Its accumulated achievements and consistent trajectory stand as testament to this. Woonjoong Gallery has become a cornerstone of the local art scene, effectively serving as a vibrant ‘salon’ that resonates with contemporary art. It stands as a distinguished example of a privately-operated space that significantly contributes to the visual culture landscape. Among the annual exhibitions presented by Woonjoong Gallery since its opening is the series, a format that thoughtfully pairs two artists in a shared presentation. This exhibition, “Duo Presentation: Moon Beom & Kim Jaenam” adheres to this fundamental concept. However, while the preceding exhibitions were entirely conceived and curated by Woonjoong Gallery, the current presentation involved my participation in the preparatory stages. Thus, I invite you to perceive this exhibition as a unique variation or a special edition within the lineage. The Hermit. This term denotes an individual who consciously withdraws from the world, minimizing external engagements and residing secretly and quietly, beyond the purview of public attention. It is a mode of life and an attitude that often lies beyond the easy comprehension of the commonplace. The image of Baruch Spinoza, the ‘philosopher of solitude and seclusion, comes to mind. Excommunicated from his community, he spent his life in self-imposed remoteness, meticulously crafting optical lenses. Regardless of societal judgment, he was, in essence, a truly free spirit. Moon Beom’s recent life mirrors this spirit. Following his retirement from his professorship, he entered a period of chosen reclusion. This deliberate retreat has now extended for a significant five to six years. While glimpses of his oeuvre have occasionally surfaced through select exhibitions, these were not solely dictated by his intention but rather instances of institutions presenting works from their holdings. Given this context, the significance of this exhibition gains particular resonance. Foremost, it offers a rare encounter with his recent, previously unexhibited creations. Furthermore, Moon Beom himself has carefully selected and is presenting the works he cherishes most from his representative series. Indeed, “reputation precedes merit” holds true here, as this exhibition reaffirms that his established acclaim within the Korean and international art worlds is firmly rooted in substantive artistic achievement. Moon Beom’s paintings transcend the conventional boundaries of the monochrome works categorized under the rubric of ‘Dansaekhwa’ (Korean Monochromatic Painting). As the adage goes, ‘儉而不陋 華而不侈’ (gyeomibulru hwaiboolchi): “Simple yet not crude, splendid yet not extravagant.” It represents a refined aesthetic, a harmonious convergence of tradition and contemporary sensibility. As widely acknowledged, Moon Beom does not employ the traditional brush. He utilizes solid oil sticks, applying the paint in this form and then shaping his compositions through direct manipulation with his fingers, smudging and blending the pigment. This constitutes an inimitable and deeply personal technique. Through this distinctive process, ‘corporeality’ becomes an intrinsic element, and ‘temporality’ visibly emanates from the surface. The resulting images, appearing to proliferate organically, evoke a sense of the dreamlike and the mystical. The surface texture is delicate and smooth, occasionally possessing a subtle luminosity, reminiscent of the clear, translucent quality of a bright winter sky. The restrained palette is nuanced, the hues subtly bleeding and expanding, creating a rhythmic interplay of resonance and tremor. The viewer’s gaze is unexpectedly drawn into the depths of the canvas, only to be momentarily cast back out. The sensory world conceived by Moon Beom is a vibrant microcosm, not a static, preserved relic of a dark realm, but rather a living, breathing organic entity – a ‘singular object’ imbued with a dynamic, evolving vitality. TABULA RASA. This Latin phrase signifies a ‘clean slate’ or an ‘empty tablet,’ underscoring the philosophical proposition that individuals are born without innate ideas or experiences, their minds akin to a blank sheet of paper. While the enduring debate regarding the relative influence of nature and nurture in shaping human identity continues, the concept of ‘tabula rasa’ re-emerges as I contemplate the art of Kim Jaenam. I once penned a brief reflection on Kim Jaenam’s work, commencing with the assertion: “Music begins in silence.” I continued, “So too does painting originate. A blank canvas embodies silence, a state brimming with infinite potentiality awaiting the inception of form.” This conviction remains steadfast. Viewing Kim Jaenam’s paintings invariably evokes the image of the pristine canvas prior to the artist’s touch. His paintings are created directly on the raw, unprimed canvas. With meticulous attention, akin to the delicate artistry of embroidery, he intricately renders wave-like patterns using charcoal. Through the visible surface of the water, he conveys the unseen depths of the abyss. The gently undulating forms of the waves are interpreted as a metaphor for the profound recesses of the human mind. The restrained harmony of black and white symbolizes ‘the empty fullness.’ “Necessity is always dressed in accident.” This statement was made by the distinguished British historian Edward Hallett Carr(1892–1982). In his influential work, What Is History?, he defined history as an ‘unending dialogue between the past and the present.’ This suggests that every present occurrence is inevitably rooted in a preceding cause – the past. It is an insightful observation that the totality of causality shapes the very fabric of our world. Buddhism echoes this sentiment through the doctrine of dependent origination (緣起法), the core principle being interdependency (因緣), the perhaps self-evident truth that all phenomena arise from a complex interplay of cause and effect. Remarkably, even those at the forefront of modern scientific inquiry share a similar perspective. This is exemplified by the two central pillars of contemporary physics: the theory of relativity and quantum mechanics. Modern scientists increasingly focus their research not on isolated entities but on the intricate ‘relationships’ that exist between them. Thus, across the diverse fields of humanities, religion, and science, a remarkably congruent framework for comprehending the world prevails. Similarly, the realms of art and fine art are no exception. Consider, for instance, an exhibition within a gallery setting. To view a gallery or an exhibition as simply a display of artworks is to overlook its profounder significance. Its true nature is multifaceted, demanding a causal approach to interpretation. Metaphorically speaking, the gallery is the body, and the exhibition its gesture – two entities coexisting as one. They can be considered separately, yet they are inextricably linked. Thus, a gallery is a physical space where existence and perception engage in a dynamic interaction, while an exhibition can be understood as a site where the material and the spiritual harmonize through the principle of complementarity. Therefore, the relationship between a gallery and an exhibition should be comprehended not as mere coexistence but as a profound and meaningful superimposition. The works of Moon Beom and Kim Jaenam are now presented in unison at Woonjoong Gallery. These two artists share a significant history as teacher and disciple, a connection that spans an impressive thirty-three years. Throughout this enduring relationship, they have maintained a close bond akin to that of family. A chance encounter served as the initial catalyst, blossoming into the present exhibition. It is a space where the past and the present engage in a vital dialogue, a causal interaction that transcends the limitations of time and space. The unfolding relationship, guided by an inherent necessity, is evidenced here and now. In this moment, a new page in the ongoing narrative of Korean contemporary art is being written. Lee Joon-hee, May 2025