Park Sohyun’s first solo exhibition, <I like Potato and You like Potahto> presents a
series of paintings that capture a ‘duet’ within the space between the artist’s perspectives on the body and the playful yet uncomfortable exchange found in ‘dancing’. The dancing bodies and repetitive movements that appear in her paintings begin from scenes discov- ered in Reels, and these are revealed on the canvas through the artist’s capture and brush- work as a painting, which can be seen as the most traditional art medium, and
‘visual snatching’ standing at the opposite point.

The repeated movements and conversations leave traces beside the drawings, moving between sentences and words. And as the artist transfers this on the canvas, she remem- bers the movements she made on a small paper and dances once again. The layout of the exhibition captures this dance across its space. The first room presents a duet based on prediction and imagination, showing a journey where one moves forward and backward, anticipating the other in order to ‘dance together’.The second room focuses more on the physical movement of the present ‘duet’, where, in the absence of a partner, the dance ‘re- peats’ itself as she recalls the duet from memory and the body that once danced with her, allowing it to linger in the room.

The process through which the artist creates her paintings, and the images that emerge from it, operate within the concept of format, as presented by David Joselit in <After Art> as an aesthetic procedure of image production. In the contemporary ecology of image explosion, where images are collected in temporal formats and their time structures are reconfigured, “capturing” — Reels, Park Sohyun, drawing, and painting — each of thme exist as a format and are interconnected.

The movements of the body within specific scenes that repeat endlessly in the flow of time become a “rock skipping across the water,” circulating within this connection, initiating a kind of controversy. This appears as a disrupting operation that confounds the imitation
of imitation, and the artist throws herself, her painting, and the viewer into it like stones emerging on the surface of water. As the most pure way to transfer her nuances, which undergoes much projection and permeation in the artist’s process, becomes the surface where this rock skipping can begin, gently rippling.

The traces of the Reels video the artist has seen become emerging stones, and in be- tween, the artist jumps back into the water. The painting, standing at the shore, witnesses this scene.

After viewing this exhibition, I hope that those who open the glass door and walk down the narrow alley towards their next destination will feel the dampness of the trace left by their palms holding a stone, and that the breeze brushing against their eyelids will make them blink in a slightly irregular rhythm, allowing them to discover the space between the predict-able world and themselves.