SEOJUNG ART Senior Curator Yunjung Lee
In the realm of relationships, love between lovers often evokes images of blossoming romance and intense emotions. Many idealize a relationship as a journey through numerous challenges, steadfastly facing each other, unwavering in joy or conflict. However, reality frequently reveals a solitary, difficult path, resembling a ship aimlessly adrift in a storm.
Simon Ko's portrayal of love transcends simple definitions, imbuing his work with a sense of restraint and refinement. His art subtly favors silence over whispers, calm over joy, suggesting a profound depth and complexity to the emotion.
The works exhibited in ≪Mellow Island≫ notably focus on the aspect of psychological distance. In 'The Real One' (2023), a man and a woman, reflected in a large mirror, are physically close yet gaze elsewhere. The man, with a dark expression, seems lost in thought, staring at the mirror. Simultaneously, the woman's drooped head suggests a profound silence. Similarly, 'Away' (2023) shows them without refuge, among torn anchors and black smoke, yet not looking in the same direction. This endless voyage, with no clear anchoring point, renders the elusive paradise of 'Mellow Island' an ever-receding dream. The adrift ship symbolizes not unity but a deepening thirst in their relationship.
Storms and Voyages
In 'Stopover' (2023), the sight of a man despondently bowing his head while fixing an anchored ship evokes the maritime odyssey of Odysseus. Homer's 'The Odyssey' recounts Odysseus's decade-long journey of trials and tribulations returning to Ithaca. Whether trapped in the cave of Polyphemus or threatened by the lure of the Sirens, his arduous journey is continuously fraught with peril, yet there's always a glimmer of hope on the horizon. When shipwrecked on the island of the Phaeacians, their hospitality briefly rejuvenates him, and in moments of despair, a helping hand provides the courage to rise again. Even upon returning home after 20 years, the challenge of reclaiming his wife, Penelope, stands as the final test of endurance, yet the story concludes happily.
The myriad of emotions and the complex interplay of relationships and emotional exchanges captured in Simon Ko's work may indeed mirror certain acts from 'The Odyssey.' It perhaps echoes the moment Odysseus resists Calypso's temptations of wealth and immortality, who sought to hold him captive. Alternatively, it could reflect the dramatic instance when Odysseus binds himself to the mast to navigate safely past the Sirens' island. Furthermore, the hero's steadfast journey, unwavering from his original destination despite challenges, might represent a subtler theme in these paintings.
Sleep
Simon Ko's work frequently features sleeping figures. In 'Away' (2023), a man is depicted deeply immersed in sleep, contrasting with a backdrop of danger and turmoil, while 'A Gathering' (2023) shows a woman captivated by sweet slumber. The theme of psychological distance is further pronounced in 'Sanctum' (2023), which captures two individuals in the same space, eyes closed, yet dreaming different dreams. Perhaps reaching Mellow Island necessitates harnessing the power of sleep. Falling into sleep offers a sweet escape when no realistic alternatives exist. However, the realization that this respite is unsustainable shatters the illusion of enduring happiness.
The fruit of the lotus offered to Odysseus by the Lotus-Eaters is sweet but induces forgetfulness. The lotus erases even a steadfast sense of purpose in an instant, undermining the will to return home and settling one into complacency with reality. The fact that the paradise reached during slumber didn't actually exist doesn't negate its experience. The issue, however, is that these paradisiacal experiences are fleeting. Homer stated, 'Sleep covers the eyelids to forget the good, the bad, everything.' Sleep's dual nature, as traced back to classical literature, underscores its temporariness. Relationships, deeply woven with emotions like love, offer no guarantees of continuity.
In Simon Ko's work, sleep acts as a motif akin to the lotus, providing a temporary escape from unresolved dilemmas. These fragments invite us to envision the unfolding narrative as if capturing a single act of a story. The dark color scheme obscures the exact timeframe, and the perspective of an onlooker, the surreal composition, and the expressionless characters hint at more than just cheerful scenarios. The setting is not explicitly defined, leaving only surrounding objects to hint at the location.
Thus, the works resemble more a record of the present than a documentation of the past. Waiting in a hotel room with flowers for someone, selecting furniture while embracing new changes, preparing for a party—these are not the endpoints of relationships but the beginnings of seeking new paths. The flame of love that sprouts amidst intertwined emotions may be fleeting, but the journey to sustain and beautify it is fraught with challenges. The artist reflects on the maturity and growth these processes bring, anticipating an unending voyage towards an imaginary island.
When their voyage concludes, it remains unknown whether the island they step onto from the anchored ship is a real paradise or a trap disguised as a temporary temptation. If the former, the accumulated hardships pave the way for a beautiful ending; if the latter, their long adventure turns into a momentary consumption and a transition to failed endeavors. Even if their destinations differ, deeming the time spent as meaningless is too dismissive. Time flows on, and we must continue forward, much like Simon Ko's drifting raft.
March 15, 2024
