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sgenyn’s first solo exhibition

<The Blurred Paradise> is conducting

a process she hopes to get to unsubstantial paradise forming the bridge between ambiguous and comprehensive characteristic of words.

稀微(blurred): unable to see or be seen clearly.

彼岸(nirvana, paradise): a transcendent state in which there is neither suffering, desire, nor sense of self, and the subject is released from the effects of karma and the cycle of death and rebirth.

幻影(vision): the formation of a mental image of something that is not perceived as real and is not present to the senses.


(Each singleton is used as one word. Things which have polysemy are vague and accompanied by confusion because of indistinct form and boundary.

But that’s why those things are accepted as a complete entire attribute.)

To sgenyn, 0 is infinite.

In that sense, an emptiness can be the rest. Emptiness not only means wandering or stillness, but can be applied as a process thriving life because of the nature of deficiency that the word has.

Therefore, the emptiness is love and peace to sgenyn.

An unknown blurred memory, whether existed or not, and a confusion from all crossroads cannot be affirmed as dichotomy are linked into one ultimately.


sgenyn paid attention to a reflector’s property of matter when she had discovered a similarity to a process of self-examination looking herself in a piece of mirror.

The image looked different from a substance because of distortion and mutation of form. She associated an appearance of life which is occasionally harmonious, mostly colliding but syncretized in each other’s illusion between the world and individuals.

She also put the appearance into the fluid and changing inner world.


The reflector that restricts or liberates an object, the black that soaks everything, and the layers that have a vague and distinct nature are reiteration into one place, therefore co-exist. The abstract word ‘paradise’ is not dominated by relationships that get entangled in intangible feelings and is defined as a concrete material.

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