“Echoes of Time: An Artistic Reflection on Life’s Rhythm and Natural Cycles”

At Insa‑dong’s Omi Gallery (35‑4 Insa‑dong‐gil), a current exhibition titled Metronome celebrates the tempo of life. The theme explores how life’s rhythm is uneven and constantly wavering—sometimes prompting us to pause, other times urging us to move forward. This group exhibition, which began on the 28th of last month, will run through April 4th.

Within the collective showcase, artist  Sim Hyun‑joo, contributed abstract works that embody the essence of time. While some arts freeze fleeting moments, others draw out the duration, extending it like slow simmering.

 Her paintings fall into the latter category. Her works are not impulsive; they are infused with the passage of time.

 Drying, waiting, discoloring, and then revitalizing—each piece carries a layered narrative of transformation.

 Quiet textured pieces hang serenely on the gallery walls, bathed in afternoon sunlight, as the artist slowly and intentionally unveils her process.

In the interview with the artist and media scholar Showbel, we gain vivid insight into her material choices, reflections on life and death, and the philosophical meanings embedded in her art—all rooted in an understanding of time. 

She begins by recalling a few years ago, when she dyed paper with perilla oil, observing the natural shift of the dye into a deep black over time—a transformation that deeply resonated with her. 

This change symbolized memories of her father, who left behind rich soil filled with oil. To her, that soil was akin to ancestral nourishment, and hence the title Soil and Zen was chosen for the exhibition. This work is more than just a blend of materials; it narrates a symbolic story of life and coexistence. 

The “nutrients” are a cycle, passed from parents to children and onward through generations, embodying the natural acceptance of change and growth. This process echoes the Buddhist concept of reincarnation, with texture and color gradually conveying warmth or weight, depending on the epoch and emotion.

She also emphasizes her preference for traditional Korean handmade paper, which is robust and long‑lasting.

 The subtle textures, the intentional inclusion of organic scars like fingernail marks, showcase the organic beauty of nature and the delicate balance between natural forms and human intervention. 

She explains that her works hover between abstraction and figuration. 

Her “dreamlike paintings,” layered with memories, hopes, and fears, serve as mirrors for viewers’ inner worlds, prompting reflection on the nature of time and existence.

She advocates for art that goes beyond mere technique and skill. Instead, she emphasizes emotional and philosophical depth—believing these qualities hold greater significance. 

She points out that, compared to the vivid, bold colors of canvas, traditional handmade paper provides both longevity and richness, with a strength rooted in vitality, not just appearance.

 Having spent over a decade working with perilla seed oil, she finds the aged paper’s dark, earthy hue particularly compelling. During this period, the colors have matured, and she feels both more resilient and more deeply connected to her work.

She interprets her paintings of ancestral jars as gifts from her parents—symbols of warmth and interconnectedness—embodying the idea of lifelong coexistence and mutual growth. 

Regarding the future of the art market, she notes that despite rapid advancements in AI and digital tech, the tactile, sensory qualities of handmade art—its emotional resonance—will become even more crucial.

 She regards emotional empathy as a distinct human strength that technology cannot replace, and she is committed to preserving the authenticity and sincerity of handmade works. 

She concludes that “art is a record, a diary, a daily life, a dream,” encapsulating a universal reflection of human existence. 

Her works weave together memory, present experience, and hope for the future, delivering profound messages about nature, time, and being. Her art transcends mere creation, serving as a contemplative record of life’s cyclical patterns and the universal journey of human and natural harmony.