This work presents the face not as a fixed individual, but as a surface upon which fragments of different sensations are layered. The mouth and tongue, the hand and the eye do not compose a unified identity; instead, they remain as traces and fragments of sensations passing through the body. Through this fragmented body, I seek to reveal that identity is not a singular image, but a process in which sensations and events become entangled.
 
Fragments of the mask function as devices that further divide identity. At the moment when unseen sensations explain existence more powerfully than the visible face, the face ceases to be evidence of identity and becomes a surface of transformation.
 
The surrounding flames symbolize an external force of destruction and transformation, continuously shifting the body into other states. In the ‘Park’s Land’ series, this recurring fire both annihilates existence and simultaneously prepares new possibilities, operating as a mechanism of transformation that compels the body to keep becoming something else.


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.