Rather than following the traditional imagery of voice and seduction heard within the myth of the Siren, this work seeks to reexamine the figure through the image of a body that is silent and undergoing disintegration. The feathers growing from the body and the mask unsettle the boundary between the human and the other, while at the same time the tape affixed to the mask further intensifies the condition of speechlessness and the repression of the self.
 
The melting face and the thorn-covered body reveal the wounds and instability that emerge in the process of identity’s disintegration. This mythological being no longer appears as a subject endowed with the power of seduction, but rather as an incomplete body wavering between transformation and disappearance.
 
The clasped hands appear as a final gesture that attempts connection with the other even amid this state of dissolution. Through this work, what is revealed is not the completed identity traditionally attributed to a mythological being, but a state of ongoing ‘becoming’ that persists within a changing body and silence.


Park Jung Hyuk’s third painting series, ‘Park’s Land’, unfolds around the idea of “transformation.” When beginning this body of work, the artist was interested in exploring a sense of possibility, and transformation became the theme through which that notion could be articulated. Here, transformation does not refer to a simple shift from A to B, as in familiar mythic or cinematic narratives.

Instead, it encompasses a broader spectrum of states—what something could become, how roles shift according to circumstance, and the latent conditions inherent within a subject.

Figures and forms in the paintings appear structurally dismantled, blurred, or distorted through layered brushwork. These visual disruptions are less about depicting physical change and more about revealing multiple potential states at once. 

Ultimately, ‘Park’s Land’ considers the conditions that allow transformation to occur rather than the moment of change itself. Through overlapping imagery and fluid gestures, the series presents a world defined not by what is changing, but by what can change—an expanded terrain for the artist’s ongoing exploration of painterly imagination.