J. PARK

위의 그림은 박종규의 마친 ‘접힌 평면’과 같은 비선형 조형(non-linear works)을 이해하는데 있어 유효하다. 위의 그림은 피스크가 분석한 바 있는 ‘메시지와 의미(Messages and meanings)와 관련된 도판으로 소개된 기호학파의 삼각형 구조의 커뮤니케이션 모델’이다. 이 그림은 우리의 일상적 소통 자체가 비선형 커뮤니케이션(non-linear communication)임을 은유하는 것이기도 하다. 위의 모델을 보면 발신자와 수신자가 선형으로 연결되어 있지 않고 왼쪽 한 자리에 생산자(producer)와 독자(reader)라는 이름으로 모여 있다. 이것은 커뮤니케이션에서 메시지의 생산자와 수신자를 선형 위에 두었던 과정학파의 모델과는 다른 것이다. 이 모델은 발신자와 수신자를 선형으로 연결한 커뮤니케이션을 거부하고, 삼각형으로 ‘접혀진 채 연결된 비선형’에서 커뮤니케이션을 실행한다. 이 모델을 보면 발신자와 수신자가 삼각형 왼쪽의 한 자리에 모여서 삼각형 오른쪽에 있는 무엇인가의 지시대상(referent)에 대해서 이야기한다. 그렇게 해서 삼각형 위쪽의 메시지(message)를 생산하는 것이다.   특히 기호학파의 커뮤니케이션 모델에서는 노이즈의 유무나 그것으로 인한 커뮤니케이션의 실패와 성공을 논하지도 않는다. 즉 노이즈로 인해서 발신자가 의도한 것과 다른 결과를 수신자가 얻었다고 해서 그것을 ‘커뮤니케이션의 실패’로 간주하지 않는다. 발신자의 의도와 다른 수신자의 해독이란 노이즈와 상관없이 ‘송신자와 수신자 사이’ 또는 ‘수신자들 사이’의 문화적 차이에 기인할 수도 있기 때문이다. 대신 기호학파는 커뮤니케이션에서 의도한 바의 결과를 성취했든 못했든 상관없이 의미작용(signification)이 발생한 것으로 파악한다. 이 모델에서는 의미의 공유(share), 즉 ‘의미의 생산과 교환(production and exchange of meaning)’만이 주요하게 간주된다. 달리 말해, 기호학파의 커뮤니케이션이란 ‘노이즈 없는 명징한 메시지의 소통’이기보다 ‘기호의 교환’과 같은 것으로 간주된다. 노이즈를 제거할 대상으로 연구하지 않기 때문이다. 그래서 이 다이어그램 속에는 노이즈 자체가 제시되지 않는다. 박종규 작품에서의 ‘평면이 접힌 것처럼 연결된 비대칭 평면’을 보라! 마치 이 삼각형의 비선형의 커뮤니케이션 모델과 닮았지 않는가? 비유적으로 말해, ‘노이즈의 바다를 접는 비선형 평면’이라 할 만하다. 여기에는 5전시장에 선보이는 ‘노이즈 회화’에서의 여유로운 순항(順航)과 표류와 같은 순항(巡航)이 교차한다. 평면 위의 여유로운 유영과 더불어 소실점을 잃고 극단의 심층으로 빠져드는 배회와 교차가 함께 실행되고 있는 대문이다. 그런 점에서 이번 전시에서 ‘비선형 평면’은 앞서의 5전시장의 회화의 세계와 곧 살펴볼 4전시장에서 영상 및 설치 작업의 ‘중간 지대’처럼 간주된다. V. 순항(巡航) - 노이즈의 바다를 가로지르고 표류하다. 이번 전시의 백미는 4전시장에 자리한다. 노이즈가 지천으로 펼쳐져 있고, 표류의 순항(巡航)하기가 가로지르는 탓에, 이곳에는 온통 노이즈에 대한 중의(重義)가 점유한다. 왜? 제 4전시장에 들어서자마자 펼쳐지는 설치와 영상 작품을 보자. 이것은 검은 벽체를 타공하여 만든 무수한 구멍들 사이로 밝은 LED 조명을 투과시켜 점멸하는 빛의 픽셀로 가득한 풍경을 만들고 이것을 배경으로 삼아 좌우 두 대의 스크린에 투사되는 인물의 영상과 천장에 매달린 수십 대의 모니터로부터 나오는 노이즈 영상 그리고 바닥에 설치된 반영체로 구성된 작품이다. 이 작품에는 노이즈가 도처에 있다. 먼저 “당신이 가장 좋아하는 예술은 무엇인가?”, “미술에 대해 어떻게 생각하는가?”와 같은 작가의 질문에 대답하는 사람들의 인터뷰를 기록한 영상은 작가가 장치한 노이즈로 인해 처음부터 독해 불가이다. 왼쪽 스크린에 원본 영상을 투사하고, 오른쪽 스크린에는 원본 영상에 노이즈를 입혀 일그러진 영상과 소리를 투사함으로써 인터뷰의 내러티브는 와해되고 표류한다. 정상과 비정상이 서로 대화하듯이 마주하고 있는 이질적인 두 영상은 실재와 시뮬라크르의 본질이 무엇인지를 관객에게 질문한다.   그뿐인가? 그 사이 중앙의 천장에 위치한 멀티플로 집적된 다중의 LED 모니터에는 인터뷰의 영상과 사운드를 완전히 해체한 노이즈 영상이 번쩍이며 점멸을 거듭하고 그 아래 반영체는 벽면과 천장의 이미지를 연신 되새김질해냄으로써 실재를 가리고 시뮬라크르의 거칠지만, 생동력 있는 움직임을 전면에 내뿜는다. 정상적인 흐름의 해체와 그것으로부터 나온 노이즈 분출의 극대화! 그 속에서의 관람자의 감상이란 행위는 노이즈의 바다를 표류하는 것이 아니고 무엇이겠는가?   4전시장 우측 방에 마련된 또 다른 영상 작품에서도 이러한 표류는 이어진다. 일명 디지털 폭포로 회자되는 이 삼면 영상에서 관객은 어두운 공간을 삼킬 듯이 무서운 기세로 달려드는 노이즈의 무서운 폭압적 흐름과 기운을 체감한다. 픽셀의 변형인 검은 점과 선들이 어둠 속에서 굉음의 사운드와 함께 ‘무한 변주’하면서 질주하고 있는 장면은 가히 거대한 디지털 쓰나미(tsunami)라 할 만하다. 관객은 무엇인가를 계속 허물면서 거대한 힘으로 밀려드는 이 엄청난 노이즈의 파도 속에서 일종의 비장한 숭고미(the sublime)를 체험한다. 공포와 경외의 감정이 교차하는 숭고미! 달리 말해, 나 자신의 안위를 염려하는 가운데 공포와 경외를 한꺼번에 맞이하는 숭고미 말이다. 우리는 그 앞에서 쿵쾅거리는 심장의 박동 소리를 느끼면서 삶과 죽음 사이를 서성인다. 가히 ‘노이즈의 바다를 가로지르고 표류하는 순항(巡航)’이라고 할 만하다. VI. 에필로그 - 순항(巡航)하거나 순항(順航)하거나 박종규의 이번 개인전은, 2009년부터 시작된 ‘노이즈 작업’의 연장선에서 꿈틀거리는 2019년 신작으로 구성되었다. 그런 면에서 이번 전시는 노이즈를 화두로 디지털 이미지의 최소 단위인 픽셀에서 추출한 ‘점’과 그것의 변주인 ‘선’을 주요한 시각 조형으로 삼아서 회화, 설치, 영상 등으로 확장해 온 10년에 이르는 작업들을 총체적으로 점검해 보는 전시인 셈이다. ‘암호화하다(Encoding)’(2015), ‘구경꾼의 미로(Maze of Onlookers)’(2016), ‘구현(Embodiment)’(2017-18)이라는 전시 부제를 잇는 올해의 개인전 부제인 ‘순항하다(~Kreuzen)’ 역시 그의 화두인 ‘노이즈’를 풀이하고 해석하는 또 다른 개념이다. 이것은 사전적 의미로는 ‘가로지르다, 가로막다, 방해하다’의 의미와 함께 ‘표류하다’와 같은 의미의 ‘순항(巡航)하다’로 풀이되지만, 필자는 여기서 그의 개인전을 ‘순조로운 항해인 순항(順航)’과 ‘표류하는 항해인 순항(巡航)’ 그리고 ‘순항(順航)과 순항(巡航) 사이를 오가는 항해’로 분석하고자 했다. 일견 작위적인 이러한 해석은 그의 화두인 ‘노이즈’에 대한 다양한 해석을 제시하려는 일련의 시도에서 비롯된 것이었다. ‘노이즈’라는 화두를 제시하는 박종규의 이번 개인전에는 여러 의미가 함의된 ‘중의’가 점유한다. 생각해 보라. 노이즈를 인식하는 방식은 주관적인 감각에 따른 것이다. 흔히 인간의 청각 구조의 특성상 “주파수가 1,000Hz 정도인 음을 가장 큰 소리로 느끼고 100Hz 정도인 저음을 가장 작은 소리로 인식”한다는 차원에서 “50dB(A) 정도를 전후로 해서 그 이상의 음”을 노이즈로 간주하는 것이 일반론이다. 그렇지만, 구체적으로 어떤 것을 노이즈로 인식하는가의 문제는 인간 주체의 개인적 심리의 상태에 따라 달라진다. 어떤 이는 특정 데시벨(dB)의 소리를 노이즈로 인식하는 반면, 어떤 이는 자장가로 인식할 수도 있다. 박종규의 작품이 제시하는 노이즈 역시 관자에 따라 달리 인식된다. 특히 그의 전시가 영상 설치와 평면 회화가 한데 어우러진 것이라는 점에서 이번 전시에서 노이즈란 시청각적 인식을 아우르는 유동의 개념으로 정초된다. 그는 이번 전시를 구상하면서 노이즈라는 화두 아래, 다음과 같은 키워드를 열거했다. “어지러움, 무공간, 심플함, 세련됨, 혼란함, 의심, 정제된.” 여기에는 노이즈를 둘러싸고 펼쳐지는 이번 전시에 대한 다양한 고민이 여실히 감지된다.   노이즈란 원활한 소통을 방해하는 장애물로 인식되어 기피하거나 버려진 것이지만, 박종규에게서 그것은 생명력을 지닌 존재로서 되살아나 꿈틀거리면서 오늘날 현대 사회에 대한 훌륭한 메타포로 기능한다. 그러한 차원에서 이번 박종규의 개인전은 노이즈에 대한 전방위적인 조형 성찰을 통해서 ‘노이즈에 대한 다양한 해석의 지평’으로 우리의 인식과 개념적 성찰을 이끈다고 평가해 볼 수 있겠다. 그 속에서 순항(巡航)하거나 순항(順航)하거나 그의 작품을 대면하는 방식을 선택하는 것은 전적으로 관객의 몫이다. ●

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To Have Circulating Sailing or Smooth

Sailing in the Ocean of Noise

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Sung-ho Kim

Art critic

 

I. Definition from the dictionary

The solo exhibition of Jong Kyu Park has a German subtitle “~Kreuzen.” Different from loanword notation, when it is written similar to the original sound, it is pronounced like “kroichen (krɔ́ʏtsǝn)” and this term embraces a lot of meanings other than the meaning “to cross the sea” or “to cruise.” The most typical meaning can be “to make a diagonal loop, to intercross, to insert by adjusting two parts” as a transitive verb” and it also includes the connotation of “to cross, to traverse, to step over, to block, to interrupt” as well as “to crossbreed, to hybridize, to make cross-pollination.” In the last place, as a concept related to ships and sailing, it signifies “1. (Mainly ships) to drift along 2. (Ocean) to sail zigzag blocked by the wind, 3. To have circulatory sailing.” 

However, we will have to pay attention to this translated term in Chinese characters “Sunhang” in the exhibition of Park Jong-gyu. In other words, we must pay attention to the fact that “circulatory sailing” is used and not “smooth sailing.” To be specific, “smooth sailing” means “1. To have sailing in a smooth manner, 2. To navigate backed up by the wind or tidal current.” On the contrary, “circulatory sailing” means “to go around by ship.” In other words, the translated word from “Kreuzen,” “to have circulatory sailing” refers to the situation of which the sailing is obstructed or blocked by something, far from being smooth sailing of arriving at the destination and the ship loses its destination after passing through many points and wanders about the sea, like aimless “drift” from place to place. Where in the world is the exhibition of Jong Kyu Park wandering around? Then why? 

II. Ocean of Noise

All works displayed in this exhibition are tagged with the subtitle “~Kreuzen” and wander about the “Ocean of Noise” as a drifter. Ocean of Noise? In fact, the term “Sunhang” stems from “noise,” the key word, which has long inquired into for a long time. The term “noise” means “sound” but it also refers to “(unpleasant, noisy) sound,” namely, “loud noise” and “static” according to the definition of dictionary. In the field of “Electronic Engineering and Machine Control,” noise is “an electrical sign interrupting operation of machine,” while in the field of “wireless communication,” it refers to not only sound made of irregular waves obstructing hearing of communication but also unpleasant radio wavelength. This noise is considered an unnecessary and worthless existence and annoyer in every field. Take a look at the following figure.

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<Figure 1> Linear model – Communication of Process School

This figure corresponds to “The mathematical theory of communication (1949)” proposed by C. Shannon and W. Weaver. According to the analysis of John Fiske, this model reflects the position of Process School emphasizing “delivery of message.” In other words, this School defines communication as a process of which a person influences behavior or mind of others. Therefore, its optimal objective lies in removing all kinds of noise obstructing the process of communication. In the figure above, “noise source” located in the inferior part of the center between the transmitter (left) and the receiver (right) is considered “an unbearable fellow,” an obstacle and even an enemy, who is to be eliminated without fail in terms of efficiency for Process School. It is because it is always the main factor leading human communication to failure. 

However, creating non-verbal communication with the audience through painting, installation and video works feels ardent compassion for this “noise” considered an unnecessary and uncomfortable existence, an unwelcome guest, an unbearable fellow, an interrupter and even an enemy. Why? It is because of his intense experience with this “noise.” When he witnessed the ordeal of “modern history of Korea” of which the ideology and policies, which used to be considered important by the former regime, were regarded as “noise” and were abandoned in the succeeding regime, he naturally started to reflect this in the course of growing and adulthood. Mainstream and center regard non-mainstream and periphery as “noise” excluding and isolating them until creating accelerated division. In essence, this is not very different from today’s social phenomena. In this aspect, noise in his works is a significant “metaphor” that critically reflects not only on the Korean society but also on general facets of capitalized modern society                 

For Park Jong-gyu, “noise” abandoned by mainstream and center is not something to be excluded or abolished but an object of interest and attention. He attracted noise to the interiority of art. In particular, he pays special attention to the phenomenon of which digital images are broken by computer errors. Thus, he proposes noise by enlarging and transforming “Pixel,” the minimum unit of digital imaging. They appear as square dots and round dots or continuum of broken lines while crossing and occupying canvases, panels and the exhibition room itself. Looking at this, it definitely deserves the title “Ocean of Noise.”    

III. Smooth sailing – Painting floating around the Ocean of Noise

Look! His exhibition is all about noise. All his works, painting, video works and installation works are filled with noise everywhere. Like the theme of this exhibition, they drift or make circulatory sailing over the ocean of noise and sometimes enjoy smooth sailing in a leisurely manner. How? 

Let’s visit Exhibition Room 5 first. The wall of the wide exhibition hall is full of his painting works. This ocean of noise has “calm” high winds. The landscape of noise appears on the surface of painting in the form of concentration of countless pixels or in the aspect of connection or disconnection of pixels. These pixels looking like waves of calm noise seen on the broken TV monitor show wavelength of noise with slightly different aspects in each work. In the flat 2D screen, there are different sizes of square and round dots as well as numerous variations of them. The screen is as still as a monochromatic painting but we can sense that there is wriggling subtle difference and anxiety at the same time. Subtle difference and anxiety? It is the aspect of neat dots standing out in the world of order created by regular waves of noise. At the same time, contrariwise, it comes from small variations escaping from the continuous orderly flow. On the thin surface of canvas or panel, it seems that a sort of “scratchy” sound is heard from his works creating “subtle difference and anxiety” vaguely and portrays the dimension of stillness in the middle of movement. We would not hesitate to call this world created by his 2D painting “painting that drifts in the ocean of noise” or “painting that smoothly sails in the ocean of noise.”  

We must keep in mind that the works of Park Jong-gyu, in particular paintings do not regard “noise” as an object to reinstate as central power by moving from non-mainstream and border area to mainstream and center. In other words, for the artist, noise is not an object of improvement but a significant mass itself.

For this reason, this noise is only interested in creating signification showing indifference to sémantique (semantics) of the superior level formed by Logos. Borrowing Derrida’s terms, noise is supplement (supplement), prologue that yielded its position to the main body of the text and the excluded existence like footnotes and quotations. However, it is rather beings that have values with their residue itself than beings waiting for the moment to be reincorporated into the main body. For this reason, noise itself can be considered a significant mass. 

In other words, approaching discussions of Derrida and Ingarden in a modulated tone, noise is nothing but “non-crystalline spots” that are simply waiting for new transformation in the state of being abandoned and excluded from the superior level of Logos, while the fragments and sediments of significance in the inferior level of Pathos gather or scatter. Back to our discussion context, noise is not only a babble of a spoken language deviating from a written language but also exclamation or onomatopoeia spun off from a spoken language one more time. For this reason, the space of noise becomes a space of emptiness and an insignificant space where signifier (signifiant) without signified (signifié) collides. However, that is the most fundamental space, in other words, a space of “return or reduction” heading for “something that our consciousness pursues,” that is to say, pure essence called “Noema.” 

IV. Between circulatory sailing and smooth sailing – Non-linear plane folding the Ocean of Noise

In the central exhibition space connecting Exhibition Room 5 with Exhibition Room 4, this asymmetric plane is hung on the wall. An asymmetric plane? Yes, that is something new, which is transformed to highlight the 3D effect of “Noise painting” on the canvas or panel. These are plane works in reality, but the artist made 2-3 painting images asymmetric with the computer program to create 3D effects forming the vanishing point and he connected the screen together as if “it was folded. While his noise painting is “linear” visualization of noise waves on the canvas or panel, this asymmetric plane is “non-linear” visualization of noise waves on the aluminum panel. This “3D plane images” applying the vanishing point and perspective pretend to be a product for an industrial purpose due to the glittering surface based on car paint technique. Jong Kyu Park made these images look like modernized variation of painting images, which were produced based on “trompe-l'œil” creating illusion of 3D effects on the flat surface. Look at the following figure.

 

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<Figure 2> Non-linear model – Communication of Semiotic School

 

This figure is effective in understanding non-linear works like “folded plane” of Park Jong-gyu. This is a triangle-structured “communication model" of Semantic School introduced as a figure related to “Messages and meanings” analyzed by Fiske. This diagram is also considered a metaphor for non-linear communication of our quotidian communication itself. This model shows that transmitter and receiver are not linearly connected but gathered together in the same place of the left side under the name of producer and reader. This is different from the model of Process School placing producer of message and receiver on the linear position in the communication. This model denies communication connecting transmitter and receiver in a linear way, and carries out communication in “the non-linear dimension connected and folded” in a triangular form. In this model, we can see that transmitter and receiver gather in one place of the left side and talk about referent of something in the right side of the triangle. This way, they produces a message in the superior side of the triangle. 

In particular, the communication model of Semiotic School does not even discuss the existence of noise or failure or success of communication caused by the noise. To be specific, even if the receiver cannot obtain result intended by the transmitter because of noise, this is not considered “failure of communication.” It is because the decryption of receiver different from the original intention of the transmitter can be caused by cultural difference between “transmitter and receiver” or “between a receiver and another receiver” regardless of noise. On the contrary, Semiotic School understands that signification occurred independent from failure or success of the result intended by communication. In this model, the only thing that matters is the sharing of meaning, in other words, “production and exchange of meaning.”   

To be specific, communication of Semiotic School is considered “exchange of signs” rather than “clear communication of message free from noise.” It is because it does not view noise as an object of removal. For this reason, this diagram does not even present noise itself. Watch carefully “asymmetric plane connected looking like a folded plane” in the works of Park Jong-gyu! Doesn’t it remind you of the non-linear communication model of this triangle? Metaphorically speaking, it deserves to be called “a non-linear plane folding the Ocean of Noise.” 

Here, the leisurely smooth sailing and drift-like circulatory sailing of “noise painting” displayed in the Exhibition Room 5 cross each other. This is the text of which relaxed floating on the flat surface is carried out along with wandering and crossing falling into the extreme depth with the lost vanishing point. In this aspect, “non-linear plane” in this exhibition is considered “an intermediate zone” between the world of Exhibition Room 5 and the video and installation works of Exhibition Room 4.  

V. Circulatory sailing – Crossing the Ocean of Noise and drifting in it

The highlight of this exhibition is in Exhibition Room 4. Noise is spread in every corner and circulatory sailing of drift traverses the space here. Ambiguity of meaning of noise prevails in this space. Why? 

Look at the installation and video work welcoming you on stepping in Exhibition Room 4. You will catch sight of a work composed of images of figures projected onto two screens on both sides, noise images coming from tens of monitors hung on the ceiling and reflection installed on the floor, creating the landscape full of pixels of flickering light penetrated by bright LED light among numerous holes perforated in the black wall. 

In this work, noise scatters everywhere. This video, which recorded interviews with people answering to the questions of the artist such as “Which art do you like most?” and “What do you think of art?” is incomprehensible from the beginning due to the noise installed by the artist. The narrative of interviews collapses and drifts by projecting the original video on the left screen and projecting twisted images and sound by adding noise to the original video on the right screen. These two heterogeneous videos facing each other as if the normality was talking with the abnormality ask a question to the audience about the essence of reality and simulacre.

This is not the end of the story! From the multiple LED monitor of the ceiling of the center, noise video that completely dissolving the interview image and sound constantly flickers, while the reflection below repeats the image of the wall and ceiling, covering the real substance and producing rough and vital movement of simulacre. Dissolution of normal stream and maximization of noise eruption! Isn’t the act of viewers in this circumstance no different from drifting in the Ocean of Noise? If not, what else can it be?  

This kind of drift continues in other video work set in the right room of Exhibition Room 4. In this three-sided video, which is commonly known as “a digital waterfall,” the audience can sense almost violent stream and energy of this overwhelming noise as if it wanted to gulp down the dark space. The scene of which the black dots and lines, which are transformed pixels, run at a high speed with “infinite variation” along with thundering roar in the darkness reminds us of gigantic tsunami without doubt. In front of the tremendous waves of noise, which unceasingly destroy something and rush toward the audience, it is inevitable to feel a sort of heroic “sublime aesthetics.” In other words, it is about sublime aesthetics facing terror and awe at the same time. Before this scene, we wander about between life and death while feeling the big heartbeat. Yes, it is fair enough to call it “circulatory sailing crossing and drifting in the Ocean of Noise.” 

VI. Epilogue – To have circulatory sailing or smooth sailing 

This solo exhibition of Jong Kyu Park is composed of new works of 2019, as an extension of “Noise works” started from 2009. In this aspect, this exhibition is a general review of his ten-year-long works that have expanded the area towards painting, installation and video works based on visual formativeness of “dots” extracted from pixel, the minimum unit of digital image and their variation “lines” under the theme of noise. 

The subtitle “~Kreuzen” of this year’s exhibition as a continuation of the former exhibition subtitles such as “Encoding” (2015), “Maze of Onlookers” (2016) and “Embodiment” (2017-2018) is another concept interpreting his theme “noise.” According to the definition of dictionary, it means “to cross, to block, to interrupt” and is interpreted as “circulatory sailing” as a synonym of “to drift.” However, I intended to approach the analysis from the perspective of “peaceful smooth sailing,” “circulatory sailing on the drift,” and “navigation between smooth sailing and circulatory sailing.” This apparently contrived interpretation comes from a series of trials to propose a variety of interpretations of this main theme “noise.”                 

This solo exhibition of Jong Kyu Park proposing the main theme “noise” has this prevalent “ambiguity” of multiple meanings. Think about this. The way of recognizing noise depends on each one’s subjective sense. In general, according to normal auditory structure of humans, we sense the sound of 1,000 Hz as the highest one, while the sound of 100 Hz as the smallest one. Therefore, noise is normally considered “a sound superior to 50 dB(A).” Nonetheless, recognizing a certain sound as a noise depends on subjective psychology of each one. For some people, a specific decibel (dB) is regarded as a noise, while for others, the same sound can be considered a lullaby song.

The noise presented by the works of Jong Kyu Park can vary from person to person. In particular, in the sense that his exhibition embraces video works and 2D paintings at the same time, the noise in this exhibition can settle as a concept of flexibility encompassing audiovisual perception. While organizing this exhibition, he listed the following key words under the theme of noise: |dizziness, non-space, simplicity, sophistication, confusion, doubt, refinement.” Through these words, we can clearly perceive how much he has concerned on this exhibition with respect to noise. 

Normally, noise is regarded as some obstacle interrupting smooth communication, so it is avoided and abandoned. However, for Park Jong-gyu, it is born again as a being full of vitality and wriggles until becoming an excellent metaphor for today’s modern-day society. In this sense, we can evaluate that this solo exhibition of Jong Kyu Park leads in our awareness and conceptual reflection on noise towards “horizon of diverse interpretations on noise” through omnidirectional contemplation on formativeness of noise. What to choose between circulatory sailing and smooth sailing from the noise or how to face his works totally depends on the decision of the viewer. ●