The installation view of the exhibition, Courtesy of Azulejo Gallery
The Azulejo Gallery is hosting a new dual exhibition, Over-Immersion, showcasing works by artists LI Setbyul and Jeong Jiyoon from November 19 to December 15, 2024. This exhibition takes audiences on an introspective journey, examining the limits of human perception, the tension between immersion and distance, and how identity is shaped within these dynamics. Both artists bring unique, intellectually rich perspectives, highlighting facets of psychological engagement that resonate deeply in a fast-paced, visually saturated world.
LI Setbyul’s work, centered around the concept of “non-functioning eyes,” employs a bold metaphor to represent an active disconnection from the outside world. In her pieces, eyes—typically symbols of perception and connectivity—are visually inert, reflecting a symbolic blindness. By rejecting their usual role of receiving and processing external stimuli, these “non-seeing” eyes evoke a state of isolation and detachment, creating a silent critique of how societal structures can constrain or even erase individual perception. Through this visual motif, LI prompts viewers to reflect on the societal mechanisms that may limit true understanding, asking whether one’s view of the world is truly one’s own or a product of imposed structures.
The installation view of the exhibition, Courtesy of Azulejo Gallery
On the other side of this thematic spectrum, Jeong Jiyoon’s work delves into immersion and focus as a state of being, bringing a sculptural and narrative quality to her pieces. Her figures are depicted in a state of deep concentration, but Jeong maintains a calculated detachment from the subjects, presenting them with a clinical, almost observational distance. This detachment shifts the viewer’s role from participant to observer, providing a safe space for contemplation rather than full immersion. By guiding viewers to observe rather than engage, Jeong’s work raises questions about the nature of immersion in art: Is deep engagement a sign of empathy, or is there value in remaining a step removed? The viewer is invited to explore these possibilities, balancing emotional connection with analytical distance.
Together, the works in Over-Immersion serve as a profound study of the boundaries and intersections between perception, identity, and social context. LI’s portrayal of “non-functioning eyes” becomes an experiment in redefining reality itself, as her works disrupt conventional modes of sight to probe the relationship between self and structure. Meanwhile, Jeong’s exploration of immersion and detachment introduces a sensory experience that encourages audiences to reconsider the implications of both engagement and restraint. Her figures, deep in concentration yet observed at a remove, invite viewers to examine the complexities of psychological states within the framework of modern life.
The installation view of the exhibition, Courtesy of Azulejo Gallery
The dual exhibition format enhances the thematic contrast and cohesion between the artists’ work, allowing viewers to experience the push and pull of immersion and detachment as they move through the gallery space. Azulejo Gallery’s decision to juxtapose these two artists provides an intellectually stimulating experience, one that encourages contemplation on the function of perception itself. Is seeing, as LI’s work questions, an act of control or passivity? Or, as Jeong’s work suggests, does detachment offer an alternate form of engagement that fosters understanding?
The exploration of these themes touches on broader existential questions: How does one navigate a world where attention is constantly demanded but rarely rewarded with substance? And how can individuals find meaning in both their connections and their disconnections? Over-immersion suggests that modern life requires both immersion in and detachment from the world, with each state providing a unique vantage point. LI and Jeong masterfully depict these dualities, making the exhibition a relevant reflection of contemporary social psychology.
The installation view of the exhibition, Courtesy of Azulejo Gallery
According to an official from the Azulejo Gallery, Over-Immersion aims to foster a more nuanced understanding of sensory experience and its impact on identity. “The exhibition is designed not just as a visual experience but as a platform for viewers to explore their boundaries between connection and isolation,” they remarked. “In this age, where both are often felt in equal measure, the works offer a reflective space for audiences to consider their relationships with the world.”
The gallery’s decision to host Over-Immersion represents a dedication to presenting innovative, intellectually rich exhibitions that probe the essence of human experience. As viewers engage with LI Setbyul’s symbolic eyes and Jeong Jiyoon’s detached figures, they encounter an invitation to question how they perceive, engage with, and perhaps even construct their reality. This dual exhibition format not only highlights each artist’s approach but also invites a broader conversation about the shifting dynamics of perception in a hyper-connected world.
The poster of the exhibition, Courtesy of Azulejo Gallery
Sayart / Maria Kim, sayart2022@gmail.com
The installation view of the exhibition, Courtesy of Azulejo Gallery
The Azulejo Gallery is hosting a new dual exhibition, Over-Immersion, showcasing works by artists LI Setbyul and Jeong Jiyoon from November 19 to December 15, 2024. This exhibition takes audiences on an introspective journey, examining the limits of human perception, the tension between immersion and distance, and how identity is shaped within these dynamics. Both artists bring unique, intellectually rich perspectives, highlighting facets of psychological engagement that resonate deeply in a fast-paced, visually saturated world.
LI Setbyul’s work, centered around the concept of “non-functioning eyes,” employs a bold metaphor to represent an active disconnection from the outside world. In her pieces, eyes—typically symbols of perception and connectivity—are visually inert, reflecting a symbolic blindness. By rejecting their usual role of receiving and processing external stimuli, these “non-seeing” eyes evoke a state of isolation and detachment, creating a silent critique of how societal structures can constrain or even erase individual perception. Through this visual motif, LI prompts viewers to reflect on the societal mechanisms that may limit true understanding, asking whether one’s view of the world is truly one’s own or a product of imposed structures.
The installation view of the exhibition, Courtesy of Azulejo Gallery
On the other side of this thematic spectrum, Jeong Jiyoon’s work delves into immersion and focus as a state of being, bringing a sculptural and narrative quality to her pieces. Her figures are depicted in a state of deep concentration, but Jeong maintains a calculated detachment from the subjects, presenting them with a clinical, almost observational distance. This detachment shifts the viewer’s role from participant to observer, providing a safe space for contemplation rather than full immersion. By guiding viewers to observe rather than engage, Jeong’s work raises questions about the nature of immersion in art: Is deep engagement a sign of empathy, or is there value in remaining a step removed? The viewer is invited to explore these possibilities, balancing emotional connection with analytical distance.
Together, the works in Over-Immersion serve as a profound study of the boundaries and intersections between perception, identity, and social context. LI’s portrayal of “non-functioning eyes” becomes an experiment in redefining reality itself, as her works disrupt conventional modes of sight to probe the relationship between self and structure. Meanwhile, Jeong’s exploration of immersion and detachment introduces a sensory experience that encourages audiences to reconsider the implications of both engagement and restraint. Her figures, deep in concentration yet observed at a remove, invite viewers to examine the complexities of psychological states within the framework of modern life.
The installation view of the exhibition, Courtesy of Azulejo Gallery
The dual exhibition format enhances the thematic contrast and cohesion between the artists’ work, allowing viewers to experience the push and pull of immersion and detachment as they move through the gallery space. Azulejo Gallery’s decision to juxtapose these two artists provides an intellectually stimulating experience, one that encourages contemplation on the function of perception itself. Is seeing, as LI’s work questions, an act of control or passivity? Or, as Jeong’s work suggests, does detachment offer an alternate form of engagement that fosters understanding?
The exploration of these themes touches on broader existential questions: How does one navigate a world where attention is constantly demanded but rarely rewarded with substance? And how can individuals find meaning in both their connections and their disconnections? Over-immersion suggests that modern life requires both immersion in and detachment from the world, with each state providing a unique vantage point. LI and Jeong masterfully depict these dualities, making the exhibition a relevant reflection of contemporary social psychology.
The installation view of the exhibition, Courtesy of Azulejo Gallery
According to an official from the Azulejo Gallery, Over-Immersion aims to foster a more nuanced understanding of sensory experience and its impact on identity. “The exhibition is designed not just as a visual experience but as a platform for viewers to explore their boundaries between connection and isolation,” they remarked. “In this age, where both are often felt in equal measure, the works offer a reflective space for audiences to consider their relationships with the world.”
The gallery’s decision to host Over-Immersion represents a dedication to presenting innovative, intellectually rich exhibitions that probe the essence of human experience. As viewers engage with LI Setbyul’s symbolic eyes and Jeong Jiyoon’s detached figures, they encounter an invitation to question how they perceive, engage with, and perhaps even construct their reality. This dual exhibition format not only highlights each artist’s approach but also invites a broader conversation about the shifting dynamics of perception in a hyper-connected world.
The poster of the exhibition, Courtesy of Azulejo Gallery
