Jaeeun Jeon’s recent works comprises two dimensional paintings and sculptural works using threads. In her painting plane, lines create geometrical shapes and thick lump of paint resemble tangled threads. Moreover, paint drops remind us of floating clouds and small pebbles. The plane of her paintings are collages of many layers of different colored paint and brush marks generating diverse languages. Her arrangement of Individual elements results in a beautiful landscape image. Each of the elements are not representational, however  they act as symbols or signs for diverse purposes. In a rectangular form, the overlapping layers of planes create virtual spaces. Individual objects/fabric which are the components of planes, stick onto each other and erase sharp lines and create round edges. This shows the playful history of the artist’s brush strokes. Inside or outside of the noticeable rectangular shape, unreadable evidence of paint is splattered. I enjoy the small, resilient, and careful touches. Without form and any representation, the smudged brush marks fill the ground like piled snow. This resembles Phillip Guston’s light but dense brush strokes which accelerates our senses. The fabric and threads attached on the plane are amplified versions of the artist’s brush strokes.

 

Drawing and brushstrokes unites with the fabric’s fixture and knitting. The plane as background, small elements on top form a landscape. Diverse characteristics of different materials replace the whole. Small pieces of fabric are placed all over the painting as if it is plugging holes. The obvious traces of thread marks resembling scars, seems like it is filling up life’s thirst and shabbiness with care. Rectangular form of the canvas feels cold and silent. However, the fabric, generative plane not only repeats the square shape, it smudges the sharp edges with it’s soft characteristic. Round paint marks and brush strokes play the same role. Objects(fabric), threads, paint, and text also desire to show it’s  path of evidence in it’s own way. The parasitic paint fabric, and threads on the plane find it’s own way to survive in the rectangular form. One example is the long leftover threads dangling across the floor gently. 
These objects are originally attached to the plane, however parts of these objects escape from the rectangular frame and live both in and out of the frame. The dangling threads are like fingers pointing it’s desire to go back to its own level.  

 

Jaeeun Jeon’s works are close to assemblage of flexible paint, resilient brush strokes, and textured threads and fabric. Her works are a combination and overlayers of two and three dimensional objects which are drawn, made, colored, and hand embroidered. Her femenin touch and sense of craftsmanship results in a hanging sculptural work, which is a collage of paint, fabric, and embroidery. Her work is made with soft, flexible, colorful and textured fabric which shows the path of time flow. Her works can be categorized as Bricolage due to diverse material selection. Moreover, her works start with a clue or key fabric and overlays with random and accidental fabric. Due to continuous repetition of this process results in some kind of form. It is in its reproducing and multiplying process. This process does not generate an image or indicates something. It is also hard to call the process imitating. However, her working technique shows generosity to contact and combinations of inanimate objects.

 

Jaeeun Jeon mentioned that her work attempts to visualize ‘shapeless words and thoughts’.
Which means her process of attempt in visualizing the unseen is her work itself. The artist gathered objects that were disappearing, fading and finally dying. These objects have the same quality of human’s words and emotions. Elements that flow and float, a component that is heavy or light for no apparent reason, and unfortunate things that were burnt down to ashes. The artist attempts to give these invisible object forms and shapes and attempts to connect the dots among them. Moreover, she continues to build homes for the non visual matters in her most recent works as well. Therefore, small units of paint, brushstrokes, pieces of fabric, words which are individually present represent private places, disappearing voices and flowing emotions.

 

The most recognizable piece among recent works is an unfamiliar structure that is only made out of fabric. She overcame the shadows of her past works and her outstanding production is hard to categorize or regulate. The form of this work is a pile of random abandoned pieces of fabric and cloth stuck on the wall. This work of Art inevitably needs a wall space. Pieces of fabric that are forming this object, seems if it has been taken off from clothing and also resembles bags and scarves. Perhaps, it will be possible for people to cover or drape around their body. It is a textile collage which has no relation to the existing toolability. Pieces of fabric that seem to be instinctively patched together are like different flowers and plants that have its own beauty, color, and texture. Floppy threads and textiles pointing to the ground have a variable and formless quality. The destiny of the work changes as soon as it is hung up. It is the spontaneity of textiles following the provision of nature. Through the artist’s hands and the condition of the exhibition space, these objects receive their own diverse landscape, unpredictable and unstablizable form, and the readymade object’s original characteristic is encountered unconsciously and in a surreal way. An unpredictable aesthetic is created. Therefore, the way it is hung up, the moment when it is on the wall, how it is presented, and the uncertainty becomes the work’s faith. The fact that this work of Art does not have a physical form and depends on external forces, following the invisible power creating curves and it’s wriggling existence resembles a living creature. Therefore, the piece of work seems to be related implicitly to supernatural behaviors, hoping to fetch souls from objects in a pantheism point of view.