This exhibition brings together two artists whose distinct traditions converge in an inquiry into perception, material, and being. Korean born artist Da Aie Park and English painter David Eddington create a dialogue that holds, rather than resolves, the tensions between gesture and structure, transience and form.

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Park’s paintings on suspended hanji hover between presence and disappearance. Her restrained palette and atmospheric surfaces draw on meditative Asian brushwork while sustaining a contemporary clarity —color as breath, image as arrival. Migration and movement appear not through depiction but through rhythm, echoing natural and emotional currents.

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Eddington’s work, grounded in Western pictorial lineage, combines architectural precision with the shifting instability of light and mood. Renaissance compositional order meets a Neo-expressionist refusal of nostalgia, yielding reflections on how matter, atmosphere, and emotion shape human experience.

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The Calm Tempest’s Quest names the paradox central to their exchange: serenity intertwined with disturbance. Together, the works pose a phenomenological question — how being reveals itself through flux, and how art traces that revelation without fixing it. They invite contemplation as an attentive engagement with the instability of our time.

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In this shared space, cultural and aesthetic boundaries are not dissolved or reconciled but offered as sites of reflection. The calm, the tempest, and the quest unfold at once — as acts of seeing, remembering, and becoming.

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Da Aie Park is a Korean American painter whose soft, lyrical abstractions explore movement across unbounded expanses of fluid, diaphanous color. Painted upon freely suspended hanji paper, Park’s works inhabit a space between presence and disappearance. Her restrained palette and atmospheric works draw on the meditative aesthetics of East Asian traditions, while retaining a distinctly contemporary sensibility: the color field as breath, a bird messenger, image as a moment of arrival. 

 

David Eddington is an English-American artist whose practice, conversely, stems from the Western pictorial tradition. His romantic pragmatism fuses an architectural attention to form with an awareness of the instability of light and mood. The Renaissance influence is evident in his compositional discipline, yet his Neo-expressionistic approach resists nostalgia. What results is a painterly reflection on the condition of humankind itself — how matter, atmosphere, and emotion converge to shape the world.