Rahm Parc (b.1986, Republic of Korea) presents painting as an apparatus that operates in the mind. Parc has developed a distinct visual language in which color functions as an address—pointing to coordinates within the mind—across paintings, murals, sculptural forms, and installations. For Parc, seeing does not simply occur through the eyes but emerges as an event in the mind; painting activates this event.

Parc’s solo exhibitions include Lux (021 Gallery, 2025), Wall Painting No. 6 (Caption Seoul, Seoul, 2024), Blue Blue (The Reference, 2021), Times (Kumho Museum of Art, 2020), and Magnetic Lasso Survey (Cake Gallery, 2014). Group exhibitions include Take My Eyes Off (Buk-Seoul Museum of Art, 2025), Songeun Art Award (Songeun, 2022), Stop Worrying and Love the Bomb (Nam-Seoul Museum of Art, 2021), Young Korean Artists (National Museum of Modern and Contemporary Art, Korea, 2021), and This Event (Seoul Museum of Art, 2020).

Parc published Live Picture (Workroom Press, 2025), a book proposing the mind as a mode of vision. Performance projects include Call (0-2-1-3.xyz, 2020), Call (2017, 2019), and Drawing Exercise (2014–2016).

rahmparc@gmail.com  |  Instagram @rahmparc  |  CV(ENG) Download

박아람은 회화를 마음에서 작동하는 장치로 제시한다. 색을 행렬의 위치를 표시하는 주소로 삼는 그림의 질서를 세우고, 이를 회화, 벽화, 설치 등 다양한 방식으로 구사해 왔다. 작가에게 시각이란 눈으로 보는 것이 아니라 마음에서 발생하는 사건으로, 회화는 그러한 사건을 촉발하는 장치다.

마음을 새로운 시각으로 제안하는 저서 『라이브 픽처 Live Picture』(워크룸프레스, 2025)를 출간한 바 있으며, 개인전 빛(021갤러리, 2025), 벽그림 제6번(캡션서울, 2024), 블루 블루(더레퍼런스, 2021), 타임즈(금호미술관, 2020), 자석 올가미 측량(케이크갤러리, 2014) 등 총 10차례의 개인전을 개최하였고, 그룹전 떨어지는 눈(서울시립북서울미술관, 2025), 송은 아트 어워드(송은, 2022), 걱정을 멈추고 폭탄을 사랑하기(서울시립남서울미술관, 2021), 젊은 모색(국립현대미술관, 2021), 하나의 사건(서울시립미술관, 2020) 등에 참여해 왔으며, 프로젝트 콜(0-2-1-3.xyz, 2020), 콜 (2017, 2019), 작도 연습(2014-2016)과 같은 퍼포먼스 프로젝트를 선보여왔다.

Live Picture explores what remains vivid amid the flood of images, pre-programmed futures, and our excessive dependence on networks. In response to these conditions, it proposes “movement” as an alternative. By positioning the mind as the only medium capable of engaging with movement, Live Picture refines it into a site of operation, generating new modes of seeing and forms that resist capture.

『라이브 픽처』는 도처에 넘쳐 나는 이미지, 최적의 경로로 예정되는 미래, 네트워크에 과하게 의존하는 오늘날 여전히 생생한 것은 무엇인지 탐색한다. 그리고 이러한 문제적 상황에 대해 ‘운동’이라는 개념을 제시하며 대안을 도모한다. 『라이브 픽처』는 운동을 다룰 수 있는 유일한 장치이자 장소로 마음을 지목한 뒤 이를 하나의 매체로 닦아 내며 그로부터 새로운 시각(들)과 등록 불가능한 것들을 조형하는 일을 다룬다.

“The mind has a moon-like facet.” (p.7)

“Any attempt to visualize movement misses the

point; the issue is to generate movement

itself.” (p.26)

“This series of movements may not appear

outwardly, yet it is an act of seeing—a seeing

without sight.” (p.45)

“The mind is a medium. It resonates without

contact, like the moon’s pull on the sea.” (p.67)

“Vision(s) formed through shared ground

emerging from singularity.” (p.69)

“Vision(s) entail a shared perspective that does

not require seeing the same thing.” (p.70)

“Form acts as a lever for what cannot be

registered. It structures a mode that produces a

space-time beyond the reach of any system of

registration.” (p.73)

“In this way, form operates as a weave

between the visible and the invisible,

generating relations.” (p.78)

“Vision exists neither as a fixed singular nor as

a stable plural, but only as vision(s).” (p.83)

“Movement presupposes multiplicity and

allows for resonance. It does not render actors

homogeneous, but invites them into a shared

domain.” (p.85)

“Through acts of the mind, movement takes

shape and disperses, composed of countless

moments of decision.” (p.107)

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