J.Anunaran presents mixed media works of self-discovery and narrates ideas about beauty and fate in her fourth solo exhibition, “Metamorphosis”, which is open through February 20 at 976 Art Gallery.
Anunaran graduated from the Fine Arts Institute at Mongolian State University of Arts and Culture in 2009. She has master’s and doctoral degrees from the National University of Mongolia in art criticism. The artist won first place at the Grand Art-7 exhibition, which was organized in 2015 for young Mongolian artists, and was rewarded with the opportunity to participate in an artist exchange program in South Korea, from August to November 2015. Most of the work in “Metamorphosis” was created and presented during the exchange program in Daejeon, South Korea before being presented in Mongolia. The artist used details from traditional Korean garments, ricepaper, embroidery, thread, and other Korean-inspired material in her works.
The exhibition consists of portraits and contemporary works which depict female bodies with unfinished limbs. Key elements of her works are sonogram depictions, birds, bright flowers, and flower petals. According to the linguist G.Delgermaa, the works are composed and depicted not on plain backgrounds of flowing water or a gust of wind, like the artist’s earlier work, but on backgrounds that look like a microscopic view of a butterfly wing, or a “ghostly mist over human eyes”, or “starry galaxies”up close.
Anunaran says “Metamorphosis” is the continuation of her second solo exhibition, “Freewill”. In “Freewill” she accentuated the hidden qualities of things, herself, and textiles, in an attempt to free her inner self. “I was partially using the reverse side of textiles in that exhibition. Now, by using the reverse side as my only medium, instead of canvas, it’s like showing that my outer self is aligned with my inner self, which is the main concept behind the exhibition. A person must go through some change after freeing herself. This is the continuing process of the change I’m going through as I dig deeper and free myself,” she said.
The audience is welcomed by the biggest piece in the exhibition, which she had finished the day before it opened. In the middle of the body depicted in the work, you see a hole with two hands. It looks as if the hands have touched the subject’s insides, a part of her metamorphosis and journey of self-discovery.
“When people sew patterns on cotton, they don’t care about what is created on the back side. It is a process of self-creation that was formed independent from those versions that were made by considering the pattern. The actual texture of the textile lies here,” the artist said. The random, unexpected patterns on the reverse side of the textiles resemble wrinkles, scars, and moles that are natural occurrences, but generally considered flaws. Anunaran connected them with lines, forming constellation-like, geometric shapes. The birthmarks, scars, and wrinkles create asymmetry, and the lines created from them form beauty, telling personal stories and shaping fate and future, like lines on a palm being read.
The hall is filled with music composed by B.Dulguun, commonly known as

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