Jeon Soocheon’s Moving Drawing is a cross continental project carried out for 7days and 8 nights, from 14th to 21st of September 2005 along the Amtrak of United States. In the sense of art history, Moving Drawing falls under the term site-specific installation, emerged in the late 1960’s, as it relies on the railways of limited areas of United States. However, at the same time it holds characteristics of public art as ordinary audience can participate and experience the art work for certain period of time. Since the 1990’s, the concept of art headed towards new trend that cannot be described under frames of traditional modernism. This new work of art attempted art to return to reality and actively fuse with everyday life, and be re-produced by others into copies continuously; currently referred to as neo-conceptualism or global conceptualism. Jeon claims that Moving Drawing falls under a ‘new’ genre of postconceptualism, where existence of both discussion and interactive space is possible together at once. In Moving Drawing, as the audience can live inside the work (train), communication is emphasized by opening the relationship between artwork and audience, and relay of the work is featured on the internet; in this sense, the work falls under neo-conceptualism. The question of this article towards the work begins from this point. How will Moving Drawing be explained by the perspectives of ‘new’ conceptualism? On the reverse, how is Jeon’s Moving Drawing read by the perspectives of ‘new’ conceptualism? This article will reveal that Jeon focused on works introduced in the 1990’S, that encouraged audience participation and strategically used theory of Nicolas Bourriud who invented ‘relational aesthetics’ and ‘relational art’. Furthermore, as a result, the art tendency of the artist will be described as Nomadism. The term Nomadism originated from Nomad, who continuously moved in search of new life, referring to inclination of action where one endlessly searches for new identity free from specific norms or values. In ‘Difference and Repetition’ by French philosopher, Gilles Deleuze in 1968, the world of Nomad was described as ‘world of moving visual’, which continued to be used as philosophical term ‘Nomadism’. The term refers to continuous search of new things beyond traditional value and philosophy, and in an artistic sense, it refers to artists, with avant-garde spirit, exploring the new world by crossing between various academic fields. Despite artists working with various post-conceptual tendencies, research on them is lacking in the current art scene, and hence, this article is important and valuable attempt.

Nomadism means 'divide share' and 'drift where allocated'. The word to express a variety of modern people without being tied to a fixed time and place, constantly moving to new areas and explore the possibility. The progress of this study, first, to research on the conceptual study of Nomadism through Deleuze's theory of art and to organize Nomadism patterns and design paradigms in modern society. Second is to analyze and investigate cases of Nomadism based on the theoretical background in a way to reinterpret to the contemporary fashion, and to suggest the formative characteristics and inherent expressiveness of Nomadism expressed in modern fashion. Theoretical considerations made through the collection data were select from ready-to-wear women's collections 2005 S/S~2013 S/S presented in ‘Style.com’. The results of the analysis of the formative characteristics of Nomadism in the 21st century fashion are ‘mixed expressions of time ․ space and gender’, ‘pursuit of diversity through self-dismantling’, ‘clothing systemization of mobile and deformable’ and ‘temporary amusement, lightness, an expression of the ride rules’. The inherent expressiveness of Nomadism through these types of figurative representation are ‘unbounded fashion’, ‘multi-center, multi-functional’ and ‘emotional directivity’. As such, philosophy and artistic trends started Nomadism is harmoniously expressed in terms of the design transcending the boundaries of existing stereotypes.