Johyun Gallery is pleased to present “The Shape of Re-entry”, a solo exhibition by Jin Meyerson, presented as part of Loop Lab Busan, the international digital media art festival. The exhibition is on view from April through May on the first and second floors of the Johyun Gallery_Dalmaji space.

Jin Meyerson was born in Incheon and raised in the United States through adoption. His practice operates at the intersection of Korea’s postwar historical context, ruptured adjacency and contemporary imaging technologies. His paintings and videos overlay meta narratives and shifting stratas of recollection. Ultimately disclosing a sense of self that is unfixed and perpetually under reconstitution. Identity and being formed under the conditions of a technologically mediated world. The accumulation and transformation of images are constructed into nonlinear temporalities. Past and present traverse one another, rendering visible the gap between history and the individual.

The Shape of Re-entry (2024), a large-scale painting, presents a visualization of re-entry through brushstrokes as image traces accumulated on a physical surface. Overview Effect (2025), a video work, approaches the question from the opposite direction: seeing the Earth from the outside, it explores a perceptual shift and the reconfiguration of distance. Light gradually brightens and fades over the five-meter painting in repeated cycles. As darkness falls, the video projection activates on the opposing wall, extending the spatial narrative. The interplay between painting and video oscillates between digital reality and material reality, proposing a transformative understanding of time and causality. 

For Meyerson “Re-entry” signifies not merely a return, but a condition of continuous becoming through repetition and transformation. Exploring the disruption of self through a re-entry of history and severed memory. Leading the viewer into an experience where physical displacement and perceptual reorientation intersect. The exhibition traverses between memory and data, past and future, asking us to see human existence not as a fixed position but as something situated within a process of continuation.

Venue
Johyun Gallery_Dalmaji, 171 Dalmaji-gil 65 beongil, Haeundae-gu, Busan, South Korea

Artists
Jin Meyerson

Exhibition Dates
April 23 – May 31, 2026

Gallery Hours
Tuesday – Sunday | 10:30 AM – 6:30 PM

Website
https://www.johyungallery.com

Instagram
https://www.instagram.com/johyungallery/

Contact
info@johyungallery.com

About Artist

Jin Meyerson (b.1972)  https://www.johyungallery.com/artists/41-jin-meyerson/biography/ 

Jin Meyerson, is recognized for his contributions to the revival of figurative painting in the early 2000’s in NYC where he began his career. A pioneer of imaging technology usage in concert with painting, his work bridges figuration and abstraction by engaging with issues of displacement, loss of heritage, post-colonialism, and the expansive Korean diaspora. His recent work employs LIDR scans, AR overlays and the concepts of retro causality, as source and origin in his longstanding investigation of meaning and contemporaneity in painting. His paintings have been featured in extensive solo and group exhibitions globally, including the 2022 Venice Biennale, Italy, Gallery2, Seoul, Johyun Gallery, Busan, South Korea; M Woods Museum, Beijing, China; Zach Feuer Gallery, NYC, United States; Galerie Emmanuel Perrotin, Paris, France, and Hong Kong, China; The Saatchi Gallery, London, United Kingdom; Galerie Nordine Zidoun, Luxembourg; Arario Gallery, Seoul and Cheonan, South Korea; Hakgojae Gallery, Seoul, South Korea, and Shanghai, China; and Pearl Lam Gallery, Hong Kong, China. His work can be found in numerous public and private collections, including: the Solomon R. Guggenheim Museum, NYC, United States; The Saatchi Collection, London, United Kingdom; Vanhaerents Art Collection, Brussels, Belgium; Dean Valentine Collection, LA, United States; the de la Cruz Collection, Miami, United States; the Speyer Family Collection, NYC, United States; the Yuz Foundation, Jakarta, Indonesia, and Shanghai, China; the Taguchi Art Collection, Tokyo, Japan; MACAN Museum, Jakarta, Indonesia; and the DIB Museum, Bangkok, Thailand.

(Text and images courtesy of Johyun Gallery)