Floating Lines: Park In-Kyung, Cha Myung-Hi, Meeyoung Kim, Eom Yu Jeong

S2A is pleased to present Floating Lines, on view from May 8 to July 5, 2025. This exhibition brings together the works of four Korean women artists from different generations—Park In-Kyung (b. 1926), Cha Myung-Hi (b. 1947), Meeyoung Kim (b. 1984), and Eom Yu Jeong (b. 1985)—each exploring the subject of the line through her own distinct artistic language. Spanning a range of media, from delicate marks on paper to the rich textures of oil painting, their works capture the ever-shifting forms and moments of life through fluid, expressive brushstrokes.

For these artists, the line serves as a central structure in painting, functioning as a key element that shapes both sensory rhythm and aesthetic composition. This visual language begins with the abstract ink painting of Park In-Kyung, evolves through Cha Myung-Hi’s ontological investigation of the line, and continues with Meeyoung Kim’s rhythmic brushwork—defined by repetition and variation—before expanding into the fluid, organic forms of Eom Yu Jeong. Through this trajectory, viewers encounter both a formal continuity and generational distinctions—each artist shaped by her own historical and cultural context, yet connected through a shared vocabulary of the line.

Building on this artistic lineage, Floating Lines highlights a sensuous dialogue around abstractness as it is shared and interpreted by women artists across time. While grounded in different temporal and cultural frameworks, the four artists intuitively explore perception, thought, existence, and vitality through the most fundamental visual element: the line. Rooted in its freedom and liberating potential, their works fluidly transcend boundaries of era, generation, culture, subject, medium, and technique—opening up new possibilities for the evolution of contemporary abstraction.

At the same time, the exhibition brings “line” and “drawing” to the forefront—formal elements that have long been underrepresented in Korean art history—alongside the often overlooked practices of women artists. In doing so, it encourages viewers to reconsider and expand dominant, institutionalized frameworks of visual interpretation, fostering a deeper and more inclusive understanding of art’s evolving narratives.