This work draws its motif from the episode “Metamorphoses – The Calydonian Boar Hunt” by Ovid. As Part 1 of this series, Park’s Land 35 depicts the scene in which the goddess releases a colossal boar onto the plains of Calydon.
 
The boar appears as a monstrous embodiment of the goddess’s wrath, while the heroes, within the process of the hunt, fail to sustain a singular identity and transition into fragmented bodies. Through these fragmented forms, this work seeks to visualize mythological figures not as fixed heroes, but as beings placed within a process of ‘becoming’, transformed into something other through the event of the hunt.

The flames, distorted terrain, and overlapping movements of bodies function as devices through which the energy of transformation spreads across the entire pictorial field. This moment of collision is not intended to signify destruction or victory, but rather to be read as a process of metamorphosis in which existence is dismantled and converted into other possibilities.


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.