Text: Ryu Hanseung (Art Critic)
 
“Rather than allowing the world to pass through unchanged, I will overturn it through my own vision.”
 
The camera lens possesses the peculiar habit of inverting the image of an object. In botanical terminology, ‘Resupination’ (倒立) refers to an organ that is turned into a reversed position from its original orientation. Attending to this phenomenon, Park Jung Hyuk reveals an ambitious determination: instead of passively receiving visible reality, he seeks to invert the world through his own perceptual agency.
 
■ Major works and philosophical keywords
 
1. The strategy of the first solo exhibition《Malocclusion》
The exhibition sounds an alarm against the conventional value judgments that divide dental alignment into normal and abnormal, and against the disciplinary attitude of society that seeks to “correct” it. By what, and by whom, are we being domesticated? In an era when mechanisms of control over the individual grow ever more refined, the artist refuses passive conformity.
 
2. Family: the site where social codes are implanted
Family is both a shelter and the most subtle site where social order and desire are implanted. By expanding the private sphere of family into a broader social discourse, the artist examines the unilateral standards (codifications) that have been internalized within us.

3min 33sec (Single Channel Video): the act of assembling puzzle pieces of differing shapes. By twisting the temporality of a puzzle game—one that retraces paths within rules predetermined by others—the work destabilizes and disrupts the embedded logic that governs it.

166cm (Installation): a monitor rises to 166cm—the artist’s eye level—according to the intensity of the breathing of a grandmother lying in a hospital bed. Within the vast cycle of life, the viewer confronts the final human wish and self-generative desire to break free from a seemingly fated code.

15sec (Sound & Object): a white balloon attempting to ascend represents a primordial will to traverse institutions and conventions. Every 15 seconds it collides with the ceiling and descends, yet its upward movement never ceases. 
 
■ Artistic orientation
The sound of the balloon striking the exhibition ceiling resonates like a heartbeat awakening dormant force. Freedom from codification—this is the singular capacity possessed only by living, breathing human beings, and it marks the ultimate horizon toward which Park Jung Hyuk’s practice persistently moves.