The sea, which appears calm, is in constant motion due to multiple factors. The sea that seems unchanging is, in fact, never at rest, moving without a single moment of pause. In the same way, human desire, which constantly longs for something, never ceases to move.

The cephalopod, with its many limbs, signifies the desire to possess multiple abilities. The theatrical actor, who expresses another person’s life and desire through human emotions—joy, anger, sorrow, and pleasure—functions as a proxy for human desire. The gap and the flames between the circular, graphic-like image and the collaged image of the sea symbolize a moment of change, a moment of ‘becoming’.


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.