Mexico City, is pleased to present a new suite of paintings on board and canvas by the artist Jungwon Jay Hur (b. 1996, Seoul, South Korea). The gallery has worked with Hur for over two years, presenting her work internationally between the United States and Europe. Shaped by her engagement with literature, poetry and art history, the new paintings are built slowly through layers of paint. Figure and setting blur into one another, and bodies and gestures surface gradually, as though coming into memory. The works ask what looking can preserve: how a fleeting image might linger, gathering meaning each time we return to it.

Hur's method is one of repetition. Coats of paint are applied, wiped away and applied again, so that each surface holds the stained, translucent traces of everything that came before. The artist describes sitting in the studio, "literally waiting patiently for the painting to speak to me." Over time she has come to understand this waiting not as hesitation but as the slow building of trust, in herself and in the image. Perhaps, she suggests, it is not the artist who waits for the painting, but the painting that waits for her.

Hur is drawn to the curtain, whether glimpsed in the window of a stranger’s apartment on her street or encountered in literature. In her paintings it becomes a threshold, holding together concealment and revelation, birth and death, and waking as the lifting of a veil. In Taemong (태몽) (2026) a curtain emerges from beneath an earlier “skin” of paint, hiding what lies below while opening onto something new. The motif also carries Hur’s long-standing fascination with Piero della Francesca. In The Dream of Constantine, from the Arezzo fresco cycle, a tent is drawn back to reveal a sleeping emperor, a scene Hur connects to the Korean tradition of conception dreams. Piero is also a key to the particular stillness of Hur's figures. Where art history has often described his figures as static, Hur sees a quiet, silent movement, the moment just before the moment. Her own figures stand in that same suspended time, not frozen but flowing through it, while light and colour dissolve into atmospheric skies that recall old master paintings. Rich in muted tones and subtle textures, the paintings form a space where past and present meet and where dualities coexist. They offer viewers an entry point for their own reflection, holding sensations that are felt rather than explained.