Jenny Cho



COLUMBIA UNIVERSITY SCHOOL OF THE ARTS VISUAL ARTS 2016 MFA Thesis Exhibition

Date: 04.25.16-05.16.16

Fisher Landau Center For Art
38-27 30th Street
Long Island City
New York

Curated by Regine Basha

Artists on view: Jenny Cho, Serra Victoria Bothwell Fels, Devra Fox, ektor garcia, Cy Gavin, Ilana Yacine Harris-Babou, Mikåe Hewson, Brooke Holloway, Cary Hulbert, Bryan Jabs, Coby Kennedy, Tali Keren, Rola Khayyat, Jonah King, Emily Kloppenburg, Pablo Montealegre, Filip Lav, Justin Dale Olerud, Meredith Sands, Michael Stablein, Jr., Rachel Stern, Alex Strada, Victoria Udondian, Cameron Welch and Jiwoon Yoon

Sweetbriar by the Window Waiting for Insung Lee to Come Back, 2016, Inkjet Print and Oil on Muslin, Triptych of 42x52in

Woman with Coat String Strolls, 2016, Inkjet Print and Oil on Muslin, Triptych of 42x52, 42x60, 42x56in 

The Hunter Gracchus (After Kafka), 2015, Charcoal on Muslin, 42x42in

Sweetbriar, 2016, Inkjet Print and Oil on Muslin, 42x42in

Untitled, 2016, Inkjet Print and Oil on Muslin, 42x42in

Dropped My Coin into the Shield Painting, 2016, Inkjet Print, Oil, Found Image on Muslin, 42x42in

Dropped My Coin into the Shield Painting 2, 2016, Inkjet Print, Oil, Found Image on Muslin, 42x42in

Dropped My Coin into the Shield Painting 3, 2016, Inkjet Print, Oil, Found Image on Muslin, 42x42in

 

Straddling between the invisible boundaries of object, image, and architecture, Cho explores the new value and essence of painting within the system of contemporary world. Since the radical shift from a modernist to a post modernist paintings—deconstructivist movement such as Support/Surface which liberates the conventional form of painting by separating the canvas from its supports—painting reinvigorated not only as a flat imagery but as a third dimensional object in both aesthetical and functional form in the era of post medium. This extended life of painting reflects the post-human condition of accelerating global culture where ungraspable imageries and consumable objects repeatedly adrift through the consciousness of our eyes and minds. 

In search of new modes of being in a hybrid identity, Cho adapts inverse perspective, transparency and the poetics of networked imageries as three artistic strategies. Inverse  perspective acquire the fluid vision of the world embracing atemporality and non-locality. Double nature of literal and phenomenal transparency in both flat and architectural space derived from the phenomenological thinking process that links the aesthetics with ethics/political imperatives. The poetics of networked imageries further complicate the fundamental cycle of ontological quest in life, death and extend further into the realm of outlived.

more information: http://arts.columbia.edu/visual-arts/2016/thesis/artists