TETTO_ X Min Su-yeon
As a collaboration product between young artists and TETTO, it is an item that covers individuality and unique works.
All of TETTO's products are created in collaboration with artists. Each product is produced only in a small amount edition. Therefore, except for edition production, No more crafting
Artist statement
The gaze of the guest (客) and the scene-making of existence begin with human recognition as a 'being destined to leave'. The experience of not being able to settle in one place and crossing the boundaries of space from childhood led to a lack of 'home' and a strong attachment at the same time. The sense is imprinted in one scene. Like the memory of counting the lit windows of the apartment opposite before returning home after playing until the sun sets in the playground on a winter day. I used to look at the shining shadow in the window and imagine the warmth of a strange house. This experience does not just remain in reminiscence, but becomes the root of the space, gaze, and structure in my work today. This gaze soon expands to the ontological position of 'the guest (the 客). Modern people live more and more like strangers. I also stay for a while and soon look at a place I have not reached as a leaving being, and reflect on my place and identity. The composition through window, light, and reflection works as a symbolic device that connects time, existence, and inside and outside, not a simple representation tool. In particular, the first motivation to use the mirror was the problem consciousness of 'time'. I tried to construct a picture as a scene containing the passage of time—like a long take of a movie—not as a capture of a single moment. The mirror functions not as a tool to reflect a fixed image, but as a medium that captures the passage of time and the variation of senses. Rather than stopping the screen, this device allows the screen to flow constantly, and the landscape continues to vary as the gaze moves. In this way, the work does not become a fixed state, but a continuity of scenes that reflect the finiteness of time and affection for the surroundings. Nevertheless, formally, it persistently deals with the contradictory orientation of 'planarity within three-dimensionality'. Why are you obsessed with the plane while making it three-dimensional? This is a way of spatially unraveling the structure of perception beyond visual expression. The plane is the basic visual language and a kind of 'frame' for recognizing the world. However, this frame opens the world and at the same time traps the gaze in a frame. I borrow the form of a carry-in object or three-dimensional object to break the structure of this repressed perception, but try to return to the plane again in it. In that repetitive tension, I visually metaphor the state of human existence at the boundary. So, it is based on painting, but not fixing it on a traditional plane. Instead, the 'plane' is stacked using non-material elements such as mirrors, acrylic, formax, and light. This is not a simple material experiment, but a decision starting from the conceptual question that "the limitation of viewing is the condition of the plane." The work is installed like a relief on the wall, but it transforms into a completely different scene even when the audience moves one step. This change shakes the fixed perception of 'what is seen' and dismantles the classical frame of one viewpoint, one front, and one lighting that has been premised on the painting. The audience no longer stays in the place where they appreciate it with a set gaze, but changes into an active being that composes and dismantles the scene. In that way, I shake the way I see itself and suggest a new layer of sensation in the gap. The mirror is not simply a tool for reflecting light, but acts as a medium between existence and absence, the past and present, the visible and the invisible me. Acrylic and formax divide the world in layers between transparency and opacity, creating a double structure. Formative materials are also accepted as pictorial gestures to me. After all, my relief is 'stacked drawing' and is an extension of the 'action of drawing'. It is clear why the work does not proceed to a complete three-dimensional form. By limiting my view, I want to reduce even the 'infinite three-dimensional' to one 'plane'. And within that limited field of view, the audience can reach a deeper and infinite inner dimension. This is because this limitation is not the limit of the sense, but the entrance to the perception of existence. In this way, my work starts from personal memory and explores the place of existence and the nature of the act of seeing. The gaze that imagined an unfamiliar warmth while looking at the lit window on a dark night now makes me look back on myself in the structure of reflection, projection, limitation, and overlap. We are all 'guests' of a space and stand at the boundary between life and perception as those who exist in it at the same time as we stare at the scene. Through this, I would like to remind the viewer that they are ultimately 'guests' (客) who cannot stay in this world.
It is an attempt to approach the essential solitude shared by all human beings based on the emotion of attachment to space and time and loss
ABOUT_Min Su-yeon
Education
Sejong University Graduated from the Department of Painting
Exhibitions
2025 ·2025.07.03–07.06《Taichung Art Fair》 (Taipei) ·
2025.05.16/05.18 Hangaram Art Fair, Seoul Arts Center ·
2025.01.02-01.31 "smile!" Gallery I am the Hyundai Seoul
2024 ·2024.11.01–11.07《The Collection Art Fair & Exhibition》
2024.09.03–09.14《Time Lapse II》 gallery PAL ·
2024.08.29-09.01 [Art Festa Jeju] Jeju International Convention Center ·
2024.08.13-09.29 [Hua100 and Gaze] Yeongwol Tourism Center ·
2024.07.11–07.14 [Urban Break] COEX ·
2024.05.17/05.19 Hangaram Art Museum at Seoul Arts Center ·
2024.05.16/05.19 [FU100 Art Festa] SETEC ·
2024.01.15-06.30 K Auction's premium auction for January-June offline exhibition ·
2024.01.15-01.19 "FIRST PICK" K Auction
2023, 12.01–12.31 (MELTING CRYSTAL) Hyundai Department Store Headquarters ·
2023.11.08–11.30 (Guest) Hyundai Department Store Headquarters ·
2023.10.08–10.30《HOME GALLERY》 California, LA ·
2023.09.11-09.30 (Everyday, One Picture) Hyundai Department Store Headquarters ·
2023.08.14-08.31 (Blue) Hyundai Department Store Headquarters ·
2023.08.08-08.20 Hongik University Museum of Modern Art ·
2023.04.17-07.31 Special Exhibition of "Chat GPT and AIera" ·
2023.06.23 Hangaram Design Museum, Seoul Arts Center
2009–2022, 2022.05.07 (1st Homecoming day) Hangaram Art Museum, Seoul Arts Center ·
2017 "Color Space Empathy, Episode 45" Luda Gallery ·
2017 "Asif" Dongdaemun Design Plaza ·
2012 "PARTY" Sejong University Gwanggaeto Gallery ·
2010 "ALITLE BOOK, ALOT OF STORY" Samwon Paper Gallery ·
2010 《A LITTLE BOOK, A LOT OF STORY》 COEX
Publication
2018: Anne of Green Gables – Big Book Publishing ·
2018: "Hyun-ah, let's go with lunch ink." – Book publishing, big writing, and other collaborations and activities ·
2024: Participation in the Ten Friendship Project of Lee Ju-hang · 2023: Minsu-yeon X Ilwoldang Logo Design and Goods Production ·
2021: Participation in Youth Art Store Seoul Arts Center ·
2018: Minsuyeon X Lee Jung Eun, are you up
PRODUCT INFO
Pool in Quebec_2025
130.3 x 80.3cm
Acrylic on wooden panel
고객센터
+82 10-4767-8610 / attettol@gmail.com
CS: 평일 AM 9:00 - PM 6:00 (Lunch PM 1:00 - PM 2:00 / 주말 및 공휴일 휴무)
Business Name 앤드보리나(Andborina) | CEO 위희정 Wee Hee Jung
Business License 268-19-01378 | Communication Sales Business Report 2020-서울강남-01482
Address 강남구 언주로30길10, 현대비젼 923호 / 10, Eonju-ro 30-gil, Gangnam-gu, Seoul, Republic of Korea
TETTO_ X Min Su-yeon
As a collaboration product between young artists and TETTO, it is an item that covers individuality and unique works.
All of TETTO's products are created in collaboration with artists. Each product is produced only in a small amount edition. Therefore, except for edition production, No more crafting
Artist statement
The gaze of the guest (客) and the scene-making of existence begin with human recognition as a 'being destined to leave'. The experience of not being able to settle in one place and crossing the boundaries of space from childhood led to a lack of 'home' and a strong attachment at the same time. The sense is imprinted in one scene. Like the memory of counting the lit windows of the apartment opposite before returning home after playing until the sun sets in the playground on a winter day. I used to look at the shining shadow in the window and imagine the warmth of a strange house. This experience does not just remain in reminiscence, but becomes the root of the space, gaze, and structure in my work today. This gaze soon expands to the ontological position of 'the guest (the 客). Modern people live more and more like strangers. I also stay for a while and soon look at a place I have not reached as a leaving being, and reflect on my place and identity. The composition through window, light, and reflection works as a symbolic device that connects time, existence, and inside and outside, not a simple representation tool. In particular, the first motivation to use the mirror was the problem consciousness of 'time'. I tried to construct a picture as a scene containing the passage of time—like a long take of a movie—not as a capture of a single moment. The mirror functions not as a tool to reflect a fixed image, but as a medium that captures the passage of time and the variation of senses. Rather than stopping the screen, this device allows the screen to flow constantly, and the landscape continues to vary as the gaze moves. In this way, the work does not become a fixed state, but a continuity of scenes that reflect the finiteness of time and affection for the surroundings. Nevertheless, formally, it persistently deals with the contradictory orientation of 'planarity within three-dimensionality'. Why are you obsessed with the plane while making it three-dimensional? This is a way of spatially unraveling the structure of perception beyond visual expression. The plane is the basic visual language and a kind of 'frame' for recognizing the world. However, this frame opens the world and at the same time traps the gaze in a frame. I borrow the form of a carry-in object or three-dimensional object to break the structure of this repressed perception, but try to return to the plane again in it. In that repetitive tension, I visually metaphor the state of human existence at the boundary. So, it is based on painting, but not fixing it on a traditional plane. Instead, the 'plane' is stacked using non-material elements such as mirrors, acrylic, formax, and light. This is not a simple material experiment, but a decision starting from the conceptual question that "the limitation of viewing is the condition of the plane." The work is installed like a relief on the wall, but it transforms into a completely different scene even when the audience moves one step. This change shakes the fixed perception of 'what is seen' and dismantles the classical frame of one viewpoint, one front, and one lighting that has been premised on the painting. The audience no longer stays in the place where they appreciate it with a set gaze, but changes into an active being that composes and dismantles the scene. In that way, I shake the way I see itself and suggest a new layer of sensation in the gap. The mirror is not simply a tool for reflecting light, but acts as a medium between existence and absence, the past and present, the visible and the invisible me. Acrylic and formax divide the world in layers between transparency and opacity, creating a double structure. Formative materials are also accepted as pictorial gestures to me. After all, my relief is 'stacked drawing' and is an extension of the 'action of drawing'. It is clear why the work does not proceed to a complete three-dimensional form. By limiting my view, I want to reduce even the 'infinite three-dimensional' to one 'plane'. And within that limited field of view, the audience can reach a deeper and infinite inner dimension. This is because this limitation is not the limit of the sense, but the entrance to the perception of existence. In this way, my work starts from personal memory and explores the place of existence and the nature of the act of seeing. The gaze that imagined an unfamiliar warmth while looking at the lit window on a dark night now makes me look back on myself in the structure of reflection, projection, limitation, and overlap. We are all 'guests' of a space and stand at the boundary between life and perception as those who exist in it at the same time as we stare at the scene. Through this, I would like to remind the viewer that they are ultimately 'guests' (客) who cannot stay in this world.
It is an attempt to approach the essential solitude shared by all human beings based on the emotion of attachment to space and time and loss
ABOUT_Min Su-yeon
Education
Sejong University Graduated from the Department of Painting
Exhibitions
2025 ·2025.07.03–07.06《Taichung Art Fair》 (Taipei) ·
2025.05.16/05.18 Hangaram Art Fair, Seoul Arts Center ·
2025.01.02-01.31 "smile!" Gallery I am the Hyundai Seoul
2024 ·2024.11.01–11.07《The Collection Art Fair & Exhibition》
2024.09.03–09.14《Time Lapse II》 gallery PAL ·
2024.08.29-09.01 [Art Festa Jeju] Jeju International Convention Center ·
2024.08.13-09.29 [Hua100 and Gaze] Yeongwol Tourism Center ·
2024.07.11–07.14 [Urban Break] COEX ·
2024.05.17/05.19 Hangaram Art Museum at Seoul Arts Center ·
2024.05.16/05.19 [FU100 Art Festa] SETEC ·
2024.01.15-06.30 K Auction's premium auction for January-June offline exhibition ·
2024.01.15-01.19 "FIRST PICK" K Auction
2023, 12.01–12.31 (MELTING CRYSTAL) Hyundai Department Store Headquarters ·
2023.11.08–11.30 (Guest) Hyundai Department Store Headquarters ·
2023.10.08–10.30《HOME GALLERY》 California, LA ·
2023.09.11-09.30 (Everyday, One Picture) Hyundai Department Store Headquarters ·
2023.08.14-08.31 (Blue) Hyundai Department Store Headquarters ·
2023.08.08-08.20 Hongik University Museum of Modern Art ·
2023.04.17-07.31 Special Exhibition of "Chat GPT and AIera" ·
2023.06.23 Hangaram Design Museum, Seoul Arts Center
2009–2022, 2022.05.07 (1st Homecoming day) Hangaram Art Museum, Seoul Arts Center ·
2017 "Color Space Empathy, Episode 45" Luda Gallery ·
2017 "Asif" Dongdaemun Design Plaza ·
2012 "PARTY" Sejong University Gwanggaeto Gallery ·
2010 "ALITLE BOOK, ALOT OF STORY" Samwon Paper Gallery ·
2010 《A LITTLE BOOK, A LOT OF STORY》 COEX
Publication
2018: Anne of Green Gables – Big Book Publishing ·
2018: "Hyun-ah, let's go with lunch ink." – Book publishing, big writing, and other collaborations and activities ·
2024: Participation in the Ten Friendship Project of Lee Ju-hang · 2023: Minsu-yeon X Ilwoldang Logo Design and Goods Production ·
2021: Participation in Youth Art Store Seoul Arts Center ·
2018: Minsuyeon X Lee Jung Eun, are you up
PRODUCT INFO
Pool in Quebec_2025
130.3 x 80.3cm
Acrylic on wooden panel
고객센터
+82 10-4767-8610 / attettol@gmail.com
CS: 평일 AM 9:00 - PM 6:00 (Lunch PM 1:00 - PM 2:00 / 주말 및 공휴일 휴무)
Business Name 앤드보리나(Andborina) | CEO 위희정 Wee Hee Jung
Business License 268-19-01378 | Communication Sales Business Report 2020-서울강남-01482
Address 강남구 언주로30길10, 현대비젼 923호 / 10, Eonju-ro 30-gil, Gangnam-gu, Seoul, Republic of Korea
