Young visual artist Sooyeon Song will hold a solo exhibition titled 'OVERSTRIDER' at Jeonju Seohakdong Photo Art Museum from the 11th to the 23rd for a period of two weeks. The exhibition can be viewed for free from 10:30 am to 6 pm, with the museum closed on Mondays.

This exhibition explores the artist's ongoing exploration of the subjects of 'asphalt' and 'ground', aiming to reconfigure her attitude through works that deal with the interaction between her surroundings and inner self. The exhibition visualizes the artist's determination to 'stand on her own' by breaking through the 'hardened' asphalt and visualizing the will to stand up for oneself through the 'waves' resonating in the gaps.

Song's works have always started from the 'ground'. From the time when she considered herself a 'reclusive outsider', only looking at the yellow floorboards in her room, to her works depicting the broken asphalt on the road reflecting her shattered heart in relationships with others, to idealistic landscapes beyond the 'ground' of puddles. The 'ground' has been an important emotional background in the artist's works.

Focusing on the ground, the artist one day, while looking at a puddle of rainwater on a broken asphalt, realized that "even if you bow your head, you can see the sky in that puddle." She approached her background, the ground, not as the end of a fall but as a surface of possibilities.

In 'OVERSTRIDER', the artist confronts the 'asphalt', which was firmly established as her 'ground', not as a barrier but as a subject of transcendence. In this exhibition, the artist breaks through her material, 'asphalt', and visualizes the resonance and 'waves' that come through the cracks.

Now, the artist's asphalt symbolizes not sedimented and accumulated ground but herself, who needs to break through and transform, serving as a medium for self-reconstruction through conveying waves in self-identification with scars.

This relationship as 'waves' is not just an expression of emotions but a process of landing in reality. It signifies facing reality, not just looking at idealistic landscapes beyond the puddles, but small movements towards the cracks that were hinted at in past works, moving towards the rifts, not the ideals.

In this context, the artist's notion of 'transcendence' is not a leap or a strong declaration but a process of fragile yet steady self-formation through fractures and tremors. By breaking and shaking off firmly established hearts and images, even to oneself, and scattering the 'deposited form', the artist builds up a new 'state' of self.

Beyond mere thematic declarations, the artist actively uses various materials such as photography, paper, and sculpture, moving away from painting-centered works in terms of work methods and techniques. Although it may not be proficient, she attempts to arrange the emotional layers that constitute herself into spatial units beyond flat images.