Rather than reproducing the power of the gaze through the myth of Medusa, this work reveals the mythological figure as a being in transformation—unfolding through fragmented faces and bodily remnants. Exposed flesh and twisted postures evoke the objectified body constructed by pornography, yet here the body does not remain an object of consumption. Instead, it persists as a material body suspended between destruction and reconstruction.
 
The paper wings do not promise salvation or flight; rather, they expose a fragile form of existence that seems as though it could burn away at any moment. They destabilize the heroic imagery embedded in mythological narratives, appearing instead as incomplete devices temporarily attached to an unstable body.
 
Within the composition, the hand emerges as the hand of that day, suggesting a specific yet unnamed event. The hand exceeds its role as a bodily part, becoming a trace of injury and a medium of memory—a marker that records moments of transformation experienced by the body.
 
The flames that repeatedly appear throughout the 'Park’s Land' series function simultaneously as symbols of destruction and as energies that trigger transformation. Fire annihilates the body while at the same time anticipating new forms, pushing existence away from fixity and into a state of continuous transition. Through these flames, I seek to show that the figure from myth is not a completed form, but an entity that continually moves toward other states amid consumption, violence, memory, and transformation.


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.