Kumho Museum

2026 금호영아티스트 1부

2026 KUMHO YOUNG ARTIST Part.1

2026. 3. 6 – 4. 12
 

2F 문주혜 《크로스헤어 +++ 𝘊𝘳𝘰𝘴𝘴𝘩𝘢𝘪𝘳 ++​》

Joohye Moon engages the sensory layers activated by images themselves, moving beyond the cultural codes and conceptual frameworks embedded within them. Treating images as apparatuses that maintain particular worldviews, Moon dismantles their internal hierarchies and iconographic grammars. In this process, she identifies an isomorphic structure between religious painting and game worldbuilding in the ways images construct and transmit particular narratives. Characters devised to articulate a game's worldview draw on diverse religions and mythologies to construct distinct narratives. In a similar manner, the iconography of religious painting and the deified body function symbolically, resonating with in-game elements such as buffs, deification, and character identity. By recombining these narrative elements within a single pictorial field, Moon generates unfamiliar scenes that are displaced from their original contexts. The icons that make up the image are thus set adrift across a planar surface that has lost gravity and order, freed from established physical and logical rules. This strategy produces visual effects reminiscent of anomalous movement, glitches, and errors in games, momentarily suspending the systems of meaning ordinarily attached to each image.
 

In Crosshair +++, Moon deepens her investigation of images by foregrounding the symbolic function of color. Within game systems, blue is commonly coded with positive associations such as magic or energy, while red signals the depletion of health or imminent danger. In this context, color operates as a device that reinforces the conventional meanings embedded in images and renders the underlying worldview intuitively perceptible through sensation. Moon's The Last Supper (2025) restages the compositional structure of Leonardo da Vinci's The Last Supper (1495–1498) through the dominant use of black, as a yellow bat and a red dove drift across the surface, disrupting the symbolic order of the original. Here, Moon mobilizes color as a sensory medium that suspends the hierarchies and narratives embedded in the image. At the same time, she employs jangji paper and mineral pigments associated with East Asian painting, applying successive layers of thin color onto a roughened surface. The pigments absorbed into the paper accumulate as traces of time, giving rise to a newly articulated sensory surface. As viewers register the gap between the linguistic frameworks of images and the sensations evoked by color, established symbolic systems momentarily waver.