The body of work begins with a perceptual disturbance: looking at the world through a glass of water, where forms dissolve and colours emerge that do not exist.

​

Jung approaches blur not as an effect, but as a condition. By withholding clarity, the image resists fixation, hovering between abstraction and representation. This reflects a contemporary visuality in which images are mediated, unstable, and never fully resolved.

​

This inquiry developed further during her final year at Chelsea College of Arts through a series of self-portraits, where fragments of the face were isolated, enlarged, and abstracted.

As identity dissolves, the image reappears as surface, shaped by a dispersed regime of vision informed by the digital panopticon.

​

Recent works extend this investigation into material terms.

Grainy textures disrupt earlier optical softness, introducing a tension between dissolution and accumulation.

​

Jung’s paintings operate between blur and grain, where the image is neither fixed nor fully legible, but continuously forming and dispersing within the conditions of contemporary visual experience.