Interview with BYOUNG UK JEON (Dec 10, 2021 at 10:00 AM London / 7:00 PM Seoul)

Interview conducted with BYOUNG UK JEON on Dec 10, 2021 at 10:00 AM London / 7:00 PM Seoul

I had the pleasure of interviewing Byoung Uk Jeon, a recent graduate from Chelsea College, who is living and working in Seoul, South Korea. He finished a degree in Fine Art over the summer of 2021. Jeon was in the second year of his course when the pandemic started. His end-of-year exhibition was all online, which was launched after he completed his course. Jeon returned to Korea to finish his degree due to difficulties caused by the pandemic when his landlord asked him to leave his flat. I talked to him about his experiences studying at Chelsea College of Art to gain an understanding of what it was like for him and his peers at UAL.  

JY: Would you mind telling me about your experience’s studying fine art and Chelsea college, considering the pandemic disrupted your learning? 

BJ: I had to finish my work in Seoul. When I was in London during the pandemic, I felt incredibly sad and sorry for everything happening, but, reflecting on it now, I don’t think it was that bad. 

JY: Can you tell me about your work, Progress for the Silence Room, which we’re currently exhibiting at Millbank Tower and online? You use isolation and distortion when describing the work, could you tell me more? Could you describe the work, how did you make it, and what it is practical? 

BJ: I created a physical space for myself to be silent. I dismantled the bed and all the furniture.

JY: So, the work is a performance in a physical space, and we see the documentation of that work as an artwork as well? 

BJ: At the time, when I was making the piece, I had psychological problems. I needed help making myself silent, but it was impossible on a psychological level. So, I looked to external, physical things, like furniture, because it’s a thing that every human uses in every house. I found that was the only way to solve my problem, to be isolated by myself, so I distorted and dismantled and deconstructed all these things. 

JY: To be clear, the idea of silencing on a psychological level was impossible because you didn’t have a way to silence both what’s going on outside of you and within. So, you acted against that inability to silence the interior and exterior factors, you act out against it in a performative, dramatic way. It sounds like a catharsis, like we see in drama, theatre, or film. For example, we listen to sad music or watch a sad feel when we’re feeling sad sometimes uplifts us. So, the action, the drama fighting against the inability to silence the world around in a psychological sense is your solution to the problem, being physical engaged. In addition, since we all have these inside and outsides voices and influences, the work represents a common experience we can understand.  Also, the objects you interact with are common objects, like furniture or room itself. A room could be a metaphor of an enclosed space, like the psychological state you’re also talking about, the interior, subject voice we hear in our heads. 

BJ: I am very happy speaking with you right now. I haven’t spoken in English for a while. I lived in London for nearly 8 years.

JY: Does the experience of translating from one language to another fit into your work or what you’re interested in? 

BJ: Yes, it is something I am interested in learning other languages and using those languages in my work, but I’m not very good with it. 

JY: I found studying art and teaching here in the UK that the terms ‘practice’ is used to describe making art. The idea is that you’re always practising and learning. So, I see art practice as a problem-solving practice. For example, you mentioned the problem with silencing, which you tried to solve through acting out in a form of catharsis. Have you thought about your work as a problem-solving process? If so, do you have any advice for artists that might be experiencing a similar problem?  

BJ: Problem-solving is a main element in our lives, we’re always solving problems. For example, Steve Jobs said to connect the dots. That’s the only way to solve your problems when you’re stuck. You have to look at the problem from other angles. 

JY: Is there anything more you’d like to say about studying at Chelsea before and after the Pandemic? 

BJ: When I was on the foundation course in London, I loved the atmosphere. Especially, Chelsea. The Tate Gallery is in front of the campus. When you enter the main building at Chelsea, you see the canteen, which is the main part of the college where people gather. The smell from the canteen makes people comfortable. 

JY: So, that was going on before the pandemic, but what about after the first lockdown? You would’ve been halfway through your second year at Chelsea.  The first half of your studies you could enjoy the public spaces and studio environment then the second half all of that disappeared and only partially re-emerged. Could you tell me about that change? 

BJ: After my first year, I took a year out of military service in South Korea. So, for my second year, I returned to London after a year away. Then, a few months into my second year, the pandemic happened. 

JY: Basically, the rest of the time spent at Chelsea you did your tutorials over Teams. How was it meeting with your tutors and making work remotely as a fine art student? 

BJ: As a student, it was a really bad situation to happen. All students need communication, physical interaction with one another, so we can experience more creativity. I’m not a very social person, so the isolation wasn’t too much of a problem for me. 

JY: So, there is a lesson in making work after studies remotely that also shows us how important building and accessing a creative community is for developing an art practice and learning about art.  What are you interested in or concerned about in your work or personal life? 

BJ: I’m still making art, but in different ways. I’m starting-up a business now. 

JY: I listened to a colleague talk about making student start their own business as part of the design curriculum, so that they would have the foundation for a freelance practice or vehicle to carry their work forward after they graduate. 

BJ: I started my business 6 months ago. I am obsessed with the stereotype of the typical businessman that makes me quite upset. I can’t think of any idea for my business, but I read a book called the ‘Artists Way’s by Julia Cameron. So, I’m trying to get away from that stereotype of the business. Joseph Beuys said ‘everyone is an artists’ and I think the businessman is one as well. So, I am trying to be more creative as well. 

JY: Joseph Beuys would perform himself as an artist. Carry Young took this idea forward by creating a series of photographs where she dressed in a business suit to access construction sites because she looked official. Maybe there is a lesson for using art making to break stereotypes. I’d love to see some performances that address the stereotypical businessman. 

BJ: Before we finish, I’d like to say one more thing. As an artist, I was a student, I’ve been an artist, and I’m now trying to be an entrepreneur. I feel very grateful that every human has creativity. I feel thankful for that!  

Watch BYOUNG UK JEON's video work!