여러 가지 진실 중 어느 것을 말해야 할까 여러 가지 진실 중 어느 것을 말해야 할까: 구명선

...She rested her hands on the stump.

And she felt the worn, rough wood.

Faded by the rain and loneliness, the wood had become timeworn, antique.

(But that cut, hacked, dead wood, unfit to be firewood,

Unfit to be a plank, unfit to be a bench for lovers,

Could there be anything lonelier and sadder than wood not fit for anything?

The touch of this wood evokes in her a sense of elegance,

A sense of love, and without her knowing,

To her surprise she felt tears come forth."

(Francoise Sagan, The Lake of Loneliness)

Starting with her first solo exhibition in 2008, Revenge is Mine, Gu Myeongseon's solo exhibitions all bear titles defined by a sense of resolution. Then the fourth solo exhibition seems to have changed. In most cases, Gu's women gaze straight ahead against a background that does not exist, and each is notable in their uniqueness and individuality. Their charm is amplified with spicy titles like Revenge is Mine, Got Cash?, What the Hell is This, I wanted to Get Out of the Sun, and I Walk but I'm Not Walking. These titles all come from popular phrases and lyrics that reflect the contemporary zeitgeist. Gu would write down her emotions and feelings, phrases that left an impression on her, and when a painting was finished, she would examine her notes and pick out the phrases. And so, the title of this exhibition no doubt arose from an inner inevitability from within her. Gu has adopted the visual style of the romance visual novels in her work, and she has harnessed the pointed chins and dainty figures into her own unique style of idealized femininity and unrealistic glamor. Gu's work brings the women of these graphic novels into reality through a style of pencil drawing that was popular in art school admissions examinations in Korea and Japan, and immediately after exhibition they drew the attention of the art community in Korea. In the fall of 2008, when her first exhibition was held, she won the first Asiaf Prize as well. Afterwards she was chosen as one of the artists for the 2010 Joong-Ang National Art Competition, and she has remained a prolific artist, participating in a diverse range of exhibitions. But for this exhibition, she remained quiet as she worked, keeping her work secret. She worked in a small space with a width of less than 2m, not unlike the small prayer rooms of the monasteries[ll3] in Itaewon. There, she underwent a process of intense focus and reflection, using simple materials like her pencil and paper and eraser. That process seemed not unlike the prayers of a monastic disciple. Having spent time of her own volition in solitude, Gu says that drawing to her is like trying to see the truth. And through this shift in perspective, that the truth is reflection, she creates multiple chords, and her hands write down the story of this rhythm and truth.