This work does not fix the face—the most personal of surfaces—as a single individual, but presents it as a state in which multiple fragmented pieces are temporarily assembled. Different skins, expressions, and inverted forms reveal that the self does not possess a stable identity; rather, it exists within a process through which traces of others and external events continually pass.
 
The face becomes neither the origin of the self nor evidence of identity, but a provisional site where diverse experiences, times, and memories overlap. The melting flesh and the mixed materiality of the background visualize a moment of ‘becoming,’ in which existence refuses to remain in a single form and continues to shift into other states.
 
Through this work, I seek to explore identity not as a completed condition, but as a process constituted through fragments, transformations, and infiltrated traces. The face remains not as a center, but as an incomplete surface upon which multiple beings pass through and leave their marks.


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.