This work explores a process in which a single body absorbs different forms as it grows, moving away from a fixed identity and transitioning into another state. The entangled and flowing body overlaps the face of a wolf with a human-like figure, appearing as a hybrid being that transcends a single species.
 
Through the materiality of veils, feathers, and fur growing upon the body, I investigate an image of the body as a boundary that is constantly expanding and transforming. The veil, stretching and proliferating as if it were alive, evokes a Marian motif—carrying ambivalent meanings of sanctity and protection, as well as concealment and veiling. Meanwhile, feathers and fur reveal a state of mutation that lingers between animality and humanity, between the sacred and the wild.
 
Rather than converging into a single, unified identity, this hybrid form presents a body that “grows” by layering multiple attributes and symbols into new configurations. Through this work, I aim to suggest that existence is not a completed entity, but a living process of transformation—one that continually transitions toward 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.