This work approaches the myth of Zeus and Io not as a narrative of love, but as a moment in which a being is transformed by an external force. Just as Io, within the myth, loses her human body through desire and pursuit, the body depicted in this work undergoes a process of transformation—shifting between organic form and animal mass through contact and touch.
 
The imagery of storm and lightning in the background alludes to divine intervention and inescapable events, while traces of fire function as an energy of transformation that propels existence into another state. Through this work, I aim to reveal the mythological figure not as a subject with a unified identity, but as a being that passes through external intervention and enforced transformation, moving toward the possibility of a new body.


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.