"Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big one, you’ve got to go deeper. Down deep, the fish are more powerful and pure. They're huge and abstract. And very beautiful. I look for a certain kind of fish that is important to me, one that can translate into cinema. But there are many kinds of fish swimming down there. Some are for business, or for sport. There are all sorts of fish for each purpose. Everything, anything that is, comes up from this deepest level. Modern physics calls it the ‘Unified field(UFT)’. The more your consciousness—your awareness—expands, the deeper you go toward this source, and the bigger the fish you can lure."

Opening: The unified field, an exhibition created by four young artists, YounJin Lee, Suhyun Jeon, Jiwoo Ryu, Shishi Min, presents major new creations from this year. The title of this exhibition is inspired by the filmmaker and artist David Lynch's book <Catching the Big Fish>, which explores the creative process. It also reflects the encounter of four artists at the exhibition’s opening and the experience of coming together to make this show. Each artist regards the time and space they shared as a kind of unified field, where they “catch” one another and explore this enigmatic attraction by delving even deeper. At moments, they were connected as if speaking the same language; at other times, they drifted apart, embracing the difference and observing one another with curiosity. This journey of discovery unfolds within a shared physical space into the gallery, embracing Lynch’s call for expanded consciousness in pursuit of ever larger "fish."

YounJin Lee experiments with various "moves" derived from the basic structure of painting. She cuts, fills, separates, and reconstructs her own paintings as a medium. Through this continuous variation, the artist creates and dismantles the patterns based on the emerging rules, creating her own cyclical format. This process engages with the diverse interactions of elements inside and outside the composition, constantly responding to the shifting flow of change.

Suhyun Jeon explores emotion-based movement through animations that expand from the screen into space. Her work begins with scenes imprinted in her mind by absence, loss, and deficiency. Much like the contradictory feelings one might experience after an erotic dream—feeling both ashamed yet dwelling on it, confused yet strangely familiar—Jeon uses such emotional paradoxes as material. These feelings are condensed within the gap between reality and fantasy, consciousness and the unconscious, transforming into raw characters and narratives. Ultimately, they morph as a distorted movement.

Jiwoo Ryu likens the intangible human mind to digital data—something that cannot be generated or perceived without a device. The artist attempts to define the mind through this analogy, trying to make 'heartfelt' letters generated by ChatGPT and observing the reactions they provoke. Then she transcribes these letters onto windows using her own body temperature using petrolatum. Rhy seeks to uncover the invisible yet undeniably present mind—something neither seen nor touched.

Shishi Min's narrative ressembles a labyrinth with no exit. Observing short-lived moments of daily life, she weaves together incidental occurrences with loose causal links, allowing herself to drift through a fictionalized reality. Min explores the temporary and shifting relationship between herself, subject, and an unexpected element, with a sensation of connectivity and disconnectivity from the encounters, portrayed in two video series and three sculptures.