{"id":596129,"date":"2026-07-10T12:00:00","date_gmt":"2026-07-10T10:00:00","guid":{"rendered":"https:\/\/numero.com\/non-classifiee\/ambiguous-eroticism-and-spectator-voyeur-the-enigmatic-canvases-of-gahee-park\/"},"modified":"2026-07-10T16:21:21","modified_gmt":"2026-07-10T14:21:21","slug":"ambiguous-eroticism-and-spectator-voyeur-the-enigmatic-canvases-of-gahee-park","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/art-en\/ambiguous-eroticism-and-spectator-voyeur-the-enigmatic-canvases-of-gahee-park\/","title":{"rendered":"Ambiguous eroticism, voyeurism\u2026 Discover GaHee Park’s enigmatic canvases"},"content":{"rendered":"\n
\"GaHee\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
GaHee Park,
Under Cover <\/em>(2023). \u00a9 Paul Litherland, courtesy of the artist and Perrotin. <\/figcaption><\/figure>\n\n\n\n

Using art as a tool for emancipation<\/h2>\n\n\n\n

Fun and Games<\/em>, her show at Perrotin<\/strong> New York just before the summer, once again demonstrated the extreme particularity of her work, which Australian art critic Jennifer Higgie<\/strong> has described as \u201cfantastical, sensual, occasionally sinister<\/em>.\u201d It’s all of that and more, filled with oddities such as the recurring presence of fish and crustaceans, which, whether they are meant to be characters, always seem to be still life paintings. She paints for an audience first, but also to see where her mind leads her and where her fantasy takes her, using the medium as a tool for introspection.<\/p>\n\n\n\n

Though it is not autobiographical, the work maintains the fundamental link between itself and its author’s personal history \u2014 after growing up in Asia, she used painting as an instrument of emancipation and liberation. Where the fish are concerned, GaHee Park<\/strong> attempts a justification. \u201cMy grandmother sold fresh fish in a market in Korea, and I have always spent time with dead fish and seafood. Observing them from a young age probably makes me want to paint them. There is something familiar about them to me, but they also still seem very alien.<\/em>\u201d Where the rest is concerned, her ideas are less literal. \u201cIt’s difficult to dissect individual motifs. They all come out of some combination of what they mean and what they look like… How they invoke themes, subjects, or moods that interest me, and how they function as formal elements of the composition. And then, also, what kind of loose narrative they spark for me<\/em>.\u201d<\/p>\n\n\n\n

A talent that takes root in a garden of kakis…<\/h2>\n\n\n\n

She was born in 1985 in Seoul<\/strong>, where she lived till the age of 20, to \u201cvery Catholic<\/em>\u201d parents with very specific ambitions for her, as she describes them. \u201cThey wanted me to get married, be very Catholic, teach the Bible at church. Initially, they wanted me to become a pianist, but honestly, I was very bad at it.<\/em>\u201d Dismayed by the young GaHee<\/strong>‘s lack of pianistic prowess, and aware that she had spent most of her time sketching, they sent her to a drawing class run by an old lady whose garden, she remembers, was planted with kakis – today they feature in some of her pictures.<\/p>\n\n\n\n

She went every afternoon, and, without realizing it, acquired a solid technique. Above all, she found an outlet for her incomprehension of Korean society, which seemed unbearably sexist to her. In her sketch-books, she drew both male and female genitalia, and then glued the pages together so that her mother, who took to searching her bedroom when she discovered she’d started smoking, wouldn’t see them. \u201cI guess it’s common, kids with Catholic upbringings, such as myself, getting naughty,<\/em>\u201d she remarks.<\/p>\n\n\n\n

\"GaHee\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
GaHee Park,
Marine Dreams<\/em> (2024). \u00a9 Paul Litherland, courtesy of the artist and Perrotin. <\/figcaption><\/figure>\n\n\n\n

GaHee Park’s journey between sacrifice and freedom<\/h2>\n\n\n\n

When she announced that she’d like to go to the US to learn English, her parents negotiated. \u201cThey said,<\/em> ‘Well, if you teach the Bible at church for a year, we’ll send you to America to study English.’\u201d She accepted without flinching, getting up every morning at five to play the organ in church. Afterward, \u201cthey sent me to America, to Miami, where, to be honest, I just partied every night for a year, nonstop<\/em>.\u201d<\/p>\n\n\n\n

Returning to Seoul<\/strong> was brutal. \u201cMy colleagues, students, started calling me a whore because I had been to America..<\/em>.\u201d So she went to study art in Philadelphia. She remembers Dona Nelson, one of her professors. \u201cShe would rent a car, a really fancy American car. And from Philadelphia she would drive some students, if they wanted to follow her, to the Met<\/a>, where she was screaming with excitement in front of each and every painting displayed there. We went there five times a year, and every time she went to the same painting, a Balthus, and yelled at it that it was the best!<\/em>\u201d Like the other faculty at the Tyler School of Art <\/strong>in those days, Nelson taught abstract painting, a fact that is useful to know when contemplating Park’s \u0153uvre.<\/p>\n\n\n\n

\u201cI also do not want to express certain emotions. I feel it’s not fair for artists to give everything<\/em>.” \u2014 GaHee Park<\/h3>\n\n\n\n

Whether they are still lifes or situations featuring characters, her paintings always seem to be still lifes. The characters, animals, or fruit play an identical role as decisive elements in both the composition and the narration. Always completely immobile \u2014 either lying down or striking a pose \u2014 her characters do nothing important or symbolic, and express almost no emotion. She offers a curious explanation for that: \u201cI also do not want to express certain emotions. I feel it’s not fair for artists to give everything.<\/em>\u201d Hovering in her pictures, we see the shadow of Balthus<\/strong>, but also of the Douanier Rousseau<\/strong>, as well as memories of Surrealism<\/strong> and Italian Mannerism. As in much contemporary figurative work, she combines a plethora of different influences.<\/p>\n\n\n\n

\"GaHee\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
GaHee Park,
Fun and Games <\/em>(2023). \u00a9 Paul Litherland, courtesy of the artist and Perrotin. <\/figcaption><\/figure>\n\n\n\n

When the viewer becomes a voyeur<\/h2>\n\n\n\n

In the way she paints hair, one recognizes Fernand L\u00e9ger<\/strong>. In her slightly modelled expanses of colour, there’s a bit of Alex Katz<\/strong>. Regarding the exposure and body posture, one can find a hint of Pierre Molinier<\/strong>. Her characters with dramatic eyes, or three mouths, echo Cubism. She primarily paints domestic scenes, but the beholder is always placed in the position of voyeur, and something rather incongruous comes through: everything, right down to the fruit and flowers \u2014 she has a clear preference for anthuriums \u2014 seems to have erotic connotations.<\/p>\n\n\n\n

\u201cI love beautiful things. I just can’t help myself indulging things around me, I think it’s given to us. But I can use those things to fight against something that is built by, you know, some man-made idea,<\/em>\u201d she says. And indeed, on the surface of her pictures, we find a cohabitation between a certain form of calm expressed through a style that is almost decorative (perfect skin, as though we were seeing it through a TikTok<\/a> filter) and the indistinct urges of all sorts of improprieties. Nothing is explicit; ambiguity is cultivated as a cardinal virtue.<\/p>\n\n\n\n

We must make do with what we’re given and allow ourselves to be troubled by the slightest detail. And so it was that her decision to paint, on the table in Under Cover<\/strong><\/em> (2023), one of the works shown in New York, two fish that seemed to have been gutted (rather than two whole fish, as you would find them in nature), appeared to me to have nothing obvious about it. Just like the slight protuberance, on the surface of a white tablecloth, that keeps half a lemon in place. Often unconsciously, the mind records these seemingly minor details like so many gremlins that hinder reasoning; freeing us from a single reading, they transport us to the joys of the equivocal.<\/p>\n\n\n\n

Her body of work has evolved away from its origins. GaHee<\/strong> Park<\/strong> now seems freed from the need for personal storytelling, as though, after contributing to her emancipation, the stories have, in turn, decided to let her go. \u201cFor a while, I thought I was working on identity, because my experience really mattered. You know, relationships with my parents, my homeland. I don’t think identity or my own experience inspire me that much anymore,<\/em>\u201d she concurs. \u201cBesides, I don’t even paint Korean characters!<\/em>\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Using art as a tool for emancipation Fun and Games, her show at Perrotin New […]<\/p>\n

Read More… from Ambiguous eroticism, voyeurism\u2026 Discover GaHee Park’s enigmatic canvases<\/span><\/a><\/p>\n","protected":false},"author":20,"featured_media":593946,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[78,76],"tags":[4310,7083,7081,7084,7082,7085],"class_list":["post-596129","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-en","category-art-design","tag-exhibition","tag-fun-and-games-en","tag-gahee-park-en","tag-marine-dreams-en","tag-perrotin-gallery","tag-under-cover-en"],"acf":[],"yoast_head":"\nWho is GaHee Park, painter of ambiguity and eroticism<\/title>\n<meta name=\"description\" content=\"The figurative and erotic canvases of Korean artist GaHee Park have always placed the viewer in the position of voyeur. 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