ros.gallery is pleased to present Resilience, a two-person exhibition bringing together Byeonghyeon Jeong and Natalia Zourabova. At the intersection of performative labor and intuitive color, the exhibition invites a sustained reflection on the fundamental force that sustains human life — the capacity to recover, to begin again, and to find form for what resists language.

 

The two artists work in distinct visual languages, yet share a common orientation: both transform the materials and spaces closest to them into sites of inner reckoning. For Jeong, it is the surface of Ohapji — traditional Korean paper — worked over thousands of times with a tattoo machine until what was hidden within emerges. For Zourabova, it is the domestic interior, charged with color until the familiar becomes a field of explosive vitality. One excavates; the other saturates. Together, they trace the full arc of resilience.

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Byeonghyeon Jeong (b. 1972, Cheongdo, South Korea)

does not paint — His work is built on a single paradox: hiding and revealing. Onto Ohapji — a form of traditional Korean paper — he applies pigments gathered from nature, building an abstract landscape through layering, pouring, and brushing. This surface is then sealed and worked over as a tattoo machine vibrating at 20,000 to 25,000 times per minute tears through the fibers. Concealed colors collide with what remains hidden, producing what the artist calls "ambiguous landscapes." The result is never predictable. During a residency in Germany in 2024, Jeong found himself focused entirely on seeing — perceiving colors previously invisible to him — and turned to Goethe's Theory of Colors as a framework for his chromatic inquiry. What began as physical labor — processing past psychological repression and the passing of his partner — gradually became a quiet ritual of healing. Jeong graduated from the Department of Western Painting at Yeungnam University, Korea, and held his first solo exhibition in Europe at the Kunstmuseum Albstadt, Germany (2024). His works are held in major collections including the Art Bank of the National Museum of Modern and Contemporary Art (MMCA), Korea.

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Natalia Zourabova (b. 1975, Moscow; based in Tel Aviv)

makes theatrical paintings — stages organized toward their spectator. Drawing on her background in theatre design, she treats domestic interiors not as subjects to be represented, but as fields to be dismantled and reassembled: furniture becomes geometry, light becomes color field, figures become props. Her work begins with direct observation before moving into imagination — sketches analyzed and stripped until what remains is a composition of relationships between form and color, surface and texture, weight and light. Working with wide brushes and at times her fingers, she organizes the energy of the entire surface through bold complementary contrasts. When life grows unstable, she closes the studio door and faces herself alone, without compromise. The result is painting that constructs a sensory order that cannot be reduced to any other language. Her work is held in major public collections including the Israel Museum and the Tel Aviv Museum of Art. She has exhibited internationally including at de Appel, Amsterdam.