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Jayoon Choi, “Heeseung Chung.” ArtAsiaPacific, November/December 2014.

Visible from the sidewalk through the gallery's glass facade was Untitled(2014), an imposing photograph of a nude woman's back and her worn hands held together in prayer. Below Untitled was another installation, Tout ce qui nous arrive de bien et de mal ici-bas était écrit là-haut(2014), a stack of five black-and-white offset prints in which only the top image, a view of the sky, is visible. The work was placed atop Table-Diderot-Table(2014), a four-cornered gray table missing one leg, which, despite its handicap, stood solidly on three legs, seemingly hovering above the floor. Upstairs in a mezzanine area hung an untitled black-and-white photograph of two leaves(2013), while on the ground level below the mezzanine were two smaller photograph, Room with revolving doors-1 and -2(both 2014), showing a rectangular, medium-density-fiber structure on a wooden floor.
All six works originate from Chung's "Still Life" series-an ongoing portfolio of photographic "sketches" that realize visceral images from the artist's mind. Arising from her impulse and intuition, the photographs give us more or less what the human eye can see: straightforward images of the body, plants and other objects at eye level, or prosaic views of the sky shot in natural light.

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