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In a room where only a small lamp illuminates the darkness, a woman leans over a sitting man and traces the shadows cast on the wall. Shive's work is a scene from a Greek folktale about Dibutada painting on a wall to preserve the image of a loved one before breaking up with his/her lover. This work could be a metaphor symbolizing that drawing depends on memory rather than perception, and that painting does not originate from what is seen but what is not seen. Like Dibutada aims to remember the subject by tracing its shadow of the subject, so does the artist Sookhe Seo repeatedly scratching, painting, and erasing the subject. Such an act is not to draw by looking at the subject but rather a groping to remember it. The record of objects engraved in memory is confirmed through the repetitive weaving of scratches and disappearances that are innumerable on the artist's canvas.

As she spends most of her time painting in the studio, viewing her work as a way of living is better than her calling as an artist. Her works mainly include landscapes at most 50m from her house, such as bamboo plants, dishes, and houses nearby. However, each does not show its unique visibility on the frame but is only revealed in simple forms such as space, light, and color.

Her engraving memories of objects as traces represent her attitude of exploring the permanent eternity amid countless changes in everyday life. With this in mind, her works resemble the works by Giorgio Morandi and Agnes Martin despite differences in visual formativeness. The former poetically sublimated the essence of objects by excluding all unnecessary elements and focusing solely on the relationship between the objects and the background. The latter pursued transcendental spirituality through performative grid-patterned lines. They were the artists of contemplation who confined themselves to solitude.

Compared to Martin's quiet grid pattern, Sookhee Seo carves horizontal and vertical grooves in a woven pattern onto acrylic plates. The paint seeping through the woven into a grid resembles the texture of fine linen fabric. The shape of the object to be drawn gets established through constant disappearance and appearance, and it is cast like a shadow-like space over the transparent acrylic plate, which is revealed through countless engraved lines. She seeks to bring light to the essence of the objects rather than each fleeting characteristic. Just as in Morandi's work, the audience encounters Sookhe's poetic eternity in the objects simplified by light, shade, and color.

Therefore, her style of painting is similar to her reclusive life. This exhibition hopes the audience will discover their true self through her canvas, which removes everything but the simple attitude of a 'painter' amidst the changing trends of times.

-Hyun Kyeong Jeong