Artworks

Soungsoo Lee Pinkman Thinking Artwork 1

그는 한없이 많은 정보를 책을 통해 받아들입니다. 인터넷도 신문이나 잡지도 아닌 종이로 된 책. 거기엔 그만의 이유가 있습니다. 그건 속도의 문제입니다. 그가 받아들이는 세상은 딱 그가 감동할 수 있는 정도의 것이어야하기 때문입니다. 손으로 넘기는 종이장과 앞으로 넘길 수도 뒤로 돌아갈 수도 있는 통시성과 공시성, 도대체 지은이의 권위와 그의 인용을 확인할만한 시간이 주어지는 것이 그에겐 얼마나 큰 안도감을 주는지. 그는 적어도 그가 받아들이는 정보에 대해 순결하고 금욕적입니다. 그래서 그는 서적을 통하지 않는 어떠한 정보에도 감동하지 않으려 노력합니다. – 이성수

Shinduk Kang AOP19 Artwork 2 Heaven and Earth Sky

Drawing and printmaking offer important aspects of Shinduk Kang’s practice. The artist’s first major museum survey in 2005 at the Gwang-Ju Art Museum in Korea, started with the first exhibition room showing her screenprint on metal mesh, while the third exhibition room, which was the final room, was dedicated to screenprint works on paper. Her screenprints give a similar impression to her sculptural works, expressing a rhythmic and colorful energy.

As Kang develops her work from one medium to another, she takes her themes and makes variations on them, as evident in her Heaven and Earth series. She gathers from her granite sculptures the concept of their forms and places them in a new, two-dimensional environment, sharing space with her Korean culture. With these sculptures reinterpreted as prints, they join in dialogue with the Korean alphabet to arrange a melodic garden. She connects this series to both her cultural heritage, and the development of her artistic practice. Vowels in the Korean language reflect the idea in Eastern philosophy that heaven, earth, and humans are all one. The circles symbolize the Sky, a horizontal line symbolizes Earth, and a vertical line represents a Human. This unification is also apparent by the way Kang connects the various mediums she works with, oscillating between works on paper and lenticulars, or sculptures and drawings, while creating added meaning to each work.

Her playfulness begins with the existence of one large structure, but is often broken up into sections, pieces, or rearranged to construct new forms. These new forms executed using colored paper give the impression of entering a garden full of gorgeous plants. This secret space, where the pleasure of life is nurtured abundantly, can be said as reflecting her positive reasons for life.

Shinduk Kang AOP19 Artwork 1 Heaven and Earth Sea

Drawing and printmaking offer important aspects of Shinduk Kang’s practice. The artist’s first major museum survey in 2005 at the Gwang-Ju Art Museum in Korea, started with the first exhibition room showing her screenprint on metal mesh, while the third exhibition room, which was the final room, was dedicated to screenprint works on paper. Her screenprints give a similar impression to her sculptural works, expressing a rhythmic and colorful energy.

As Kang develops her work from one medium to another, she takes her themes and makes variations on them, as evident in her Heaven and Earth series. She gathers from her granite sculptures the concept of their forms and places them in a new, two-dimensional environment, sharing space with her Korean culture. With these sculptures reinterpreted as prints, they join in dialogue with the Korean alphabet to arrange a melodic garden. She connects this series to both her cultural heritage, and the development of her artistic practice. Vowels in the Korean language reflect the idea in Eastern philosophy that heaven, earth, and humans are all one. The circles symbolize the Sky, a horizontal line symbolizes Earth, and a vertical line represents a Human. This unification is also apparent by the way Kang connects the various mediums she works with, oscillating between works on paper and lenticulars, or sculptures and drawings, while creating added meaning to each work.

Her playfulness begins with the existence of one large structure, but is often broken up into sections, pieces, or rearranged to construct new forms. These new forms executed using colored paper give the impression of entering a garden full of gorgeous plants. This secret space, where the pleasure of life is nurtured abundantly, can be said as reflecting her positive reasons for life.

Bodo Korsig AOP19 Artwork 7 Supernova

The graphic forms in Bodo Korsig’s printed paintings and print-like sculptures hover at the edge of recognizability, like things flitting in and out of memory or a dream. Black and linear, like doodles or enigmatic emblems blown up to enormous scale, they may suggest bits of machinery, street trash or microscopic anatomical structures. Korsig, who views himself as a sculptor, makes his woodcuts as preparation for his sculptures and the same forms repeat across media.

Bodo Korsig AOP19 Artwork 6 Supernova

The graphic forms in Bodo Korsig’s printed paintings and print-like sculptures hover at the edge of recognizability, like things flitting in and out of memory or a dream. Black and linear, like doodles or enigmatic emblems blown up to enormous scale, they may suggest bits of machinery, street trash or microscopic anatomical structures. Korsig, who views himself as a sculptor, makes his woodcuts as preparation for his sculptures and the same forms repeat across media.

Bodo Korsig AOP19 Artwork 5 Supernova

The graphic forms in Bodo Korsig’s printed paintings and print-like sculptures hover at the edge of recognizability, like things flitting in and out of memory or a dream. Black and linear, like doodles or enigmatic emblems blown up to enormous scale, they may suggest bits of machinery, street trash or microscopic anatomical structures. Korsig, who views himself as a sculptor, makes his woodcuts as preparation for his sculptures and the same forms repeat across media.

Bodo Korsig AOP19 Artwork 4 Supernova

The graphic forms in Bodo Korsig’s printed paintings and print-like sculptures hover at the edge of recognizability, like things flitting in and out of memory or a dream. Black and linear, like doodles or enigmatic emblems blown up to enormous scale, they may suggest bits of machinery, street trash or microscopic anatomical structures. Korsig, who views himself as a sculptor, makes his woodcuts as preparation for his sculptures and the same forms repeat across media.

Bodo Korsig AOP19 Artwork 3 Supernova

The graphic forms in Bodo Korsig’s printed paintings and print-like sculptures hover at the edge of recognizability, like things flitting in and out of memory or a dream. Black and linear, like doodles or enigmatic emblems blown up to enormous scale, they may suggest bits of machinery, street trash or microscopic anatomical structures. Korsig, who views himself as a sculptor, makes his woodcuts as preparation for his sculptures and the same forms repeat across media.

Bodo Korsig AOP19 Artwork 2 Supernova

The graphic forms in Bodo Korsig’s printed paintings and print-like sculptures hover at the edge of recognizability, like things flitting in and out of memory or a dream. Black and linear, like doodles or enigmatic emblems blown up to enormous scale, they may suggest bits of machinery, street trash or microscopic anatomical structures. Korsig, who views himself as a sculptor, makes his woodcuts as preparation for his sculptures and the same forms repeat across media.

Bodo Korsig AOP19 Artwork 1 Supernova

The graphic forms in Bodo Korsig’s printed paintings and print-like sculptures hover at the edge of recognizability, like things flitting in and out of memory or a dream. Black and linear, like doodles or enigmatic emblems blown up to enormous scale, they may suggest bits of machinery, street trash or microscopic anatomical structures. Korsig, who views himself as a sculptor, makes his woodcuts as preparation for his sculptures and the same forms repeat across media.

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