This work reveals that identity does not exist as a single fixed form by dismantling the face, the most personal surface of all. The fragmented face and twisted expressions function not as proof of a coherent self, but as a transit point through which multiple states brush past and pass through.
 
The veil-like drapery that settles over the face and the covered eyes suspend the functions of visibility and gaze, creating a condition in which the indicators used to confirm existence are blocked. Through this concealment and distortion, I sought to visualize a state in which the self does not assume a clear form, but instead remains within a process of dismantling and transformation.
 
In the ‘Park’s Land’ series, the body has never been a completed form, but a site of becoming—an arena in which one existence transitions into another. Likewise, this work does not search for a fixed identity within a single face, but records a moment in which identity shifts into an unstable state through fragmentation and reconfiguration.


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.