The ongoing exhibition Earth, Consuming Myth at SEOJUNG ART Seoul presents a compelling dialogue between two artists, Dakyo Oh and Gee Song, whose works delve into the shifting perception of ‘earth’ as both a physical and symbolic entity. Running from January 14 to February 28, 2025, the exhibition examines the transformation of land in modern society and the myths that emerge from its consumption.

Gee Song’s artistic practice revolves around the surreal reconfiguration of architectural and natural elements. By layering and rearranging imagery, she constructs landscapes that exist in a liminal space between reality and imagination. Meanwhile, Dakyo Oh engages with raw materials such as soil and sand, extracting their intrinsic energy and integrating them into works that emphasize the organic cycle of existence. Together, their works create a discourse on how ‘earth’—once perceived as a stable and eternal foundation—has become a consumable resource, reshaped by human intervention.

The exhibition’s title hints at a paradox: while ‘earth’ has long been revered as a source of life, it is increasingly commodified in contemporary society. The urban expansion and industrialization that define modern civilization often result in the erasure or transformation of natural landscapes. Through their distinct yet interconnected approaches, Oh and Song address the evolving dynamics between nature and human ambition, illustrating how land is no longer just a passive backdrop but an actively consumed entity.

One of the exhibition’s notable aspects is its engagement with mythology. Traditional beliefs often associate the earth with creation and fertility, yet in today’s context, a new mythology emerges—one that reflects the consequences of relentless extraction and urban sprawl. The artists question whether these new myths signify progress or loss, offering visual narratives that capture both the grandeur and the fragility of the land.

The materiality of the works on display reinforces this exploration. Song’s manipulated images depict structures that seem to float between construction and decay, while Oh’s use of raw, unrefined substances evokes a tactile connection to the land. This contrast highlights the tension between artificiality and authenticity, raising critical questions about the sustainability of human interventions.

Beyond its aesthetic impact, Earth, Consuming Myth prompts viewers to reconsider their relationship with the environment. As land becomes an increasingly politicized and contested resource, the exhibition encourages a deeper reflection on its significance—not merely as a commodity, but as a fundamental element of existence that carries historical, cultural, and existential weight.

Combining these two distinct artistic voices, SEOJUNG ART offers a nuanced perspective on an issue that resonates far beyond art. Earth, Consuming Myth serves as both a poetic meditation and a stark commentary on how humanity shapes, consumes, and reinterprets the very ground beneath its feet.

Sayart / Maria Kim, sayart2022@gmail.com