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Current:
Works
Exhibitions
Publications
About
Contact
2024
Woodplate, Acrylic paint, archival photographs,
bisphenol A diglycidyl ether (DGEBA), natural urushiol.
60 x 75 cm
Opus 1 (The Fugue of Art) is a cartographic altarpiece of entangled personal and collective histories spanning Asia, Africa, and Europe, adopting a postcolonial or transcultural perspective. It positions the artist’s practice within a broader socio-political and cultural context, while referencing classical traditions and formal structures. The work merges intimate and universal themes, inviting a re-examination of identity, heritage, and the interwoven nature of histories.
1. Opus 1 (Die Fuge der Kunst)
2. Installation view.
3. unfinished manuscript of the "Fuga a 3 Soggetti", from "The Art of Fugue" BWV 1080 by Johann Sebastian Bach.
4. Irworobongdo
5. Vivarini: The Madonna of Humility, the Annunciation, the Nativity, and the Pietà
6. Picasso: Guernica (detail)
7. Rodin: The Thinker (model), Gilt-bronze Maitreya in Meditation (National Museum of Korea)
8. Hardtack Umbrella underwater nuclear test 8 June 1958, loudspeakers against North Korea for propaganda broadcasts.
9. Malevich: Supremus No. 50 (1915)
Techne Sphere Galerie, Leipzig, DE.
as part of M-24 Festival
Hochschule für Grafik und Buchkunst (Academy of Fine Art Leipzig)
23 - 29.09.2024
This exhibition navigates the intricate play of identity, temporality, and aesthetics, drawing deep from the transcontinental experiences of its maker. Themes of cultural intersectionality and personal displacement are worked out in Ostinato Interstice Rendering-the work is informed by the artist's own journey through South Korea, South Africa, and Germany.
These are works born from ambiguity, often merging surrealist narratives with symbolic imagery. Fragments of sculptures, organic forms, and chroma key green-a color synonymous with digital transformation-are used to negotiate belonging in a fluid and connected world. The green here slips from conspicuous into invisible, acting as a telling metaphor for the malleability of identity and dissolution of boundaries between technology and humanity.
It is a practice of history and self re-contextualizing by dissolving binary distinctions into the flux of human existence. This exhibition brings together world cultures, ancient and contemporary influences to establish new, universal narratives that surpass divides, joining peoples rather than conflicts in a world that never rests.
Projekt Gefördert durch Kulturstiftung des Freistaates Sachsen.
2024
AlMg3, DIP-LED, Audio equipments (Beolab 05)
Size Variable
Through cinema, it deconstructs the contemporaneous obsession with technology and science because this deconstructs the viewer's expectation of what it would be in his senses. A screen reduced to its most minimal function-a single pixel-is central to the work. The deliberate degradation turns the video into a rhythmic blinking LED against an immersive soundscape produced through high-fidelity speakers. This juxtaposition challenges one to reevaluate their over-dependence on high-resolution visuals and technological precision. This allows for audiences to engage in a reevaluation of values from reduced complexity to the human experience within technological systems. While an aesthetic reduction, Cinema urges new thought in our changing relationships with media and perception.
2024
Woodplate, Acrylic paint, archival photographs,
bisphenol A diglycidyl ether (DGEBA), urushiol (korean lacquer).
25 x 30 cm
2023
Woodplate, Acrylic paint, glass stones.
Size Variable (approx. 100 x 100 cm)
In the 1st Ing Cup Go (Baduk) championship in 1989, Korea’s Cho Hunhyun faced China’s Nie Weiping in a historic battle. Nie, returning from exile during China’s Cultural Revolution, carried the weight of his nation’s hopes.
Though Nie initially dominated, doubt crept in, and his confidence faltered. In a dramatic turn, Cho’s calm and resilience led him to victory, as Nie’s triumph slipped through his fingers. This pivotal moment marked the beginning of Korea’s rise as the strongest nation in go, all sparked by the determination of one Korean player.
The historic game of Go, once merely an aesthetic artefact in my view, now stands as a profound symbol of linguistic evolution and conceptual expansion. Initially, Lee was unaware of the game’s intricacies, Korea’s dominance in the field, or the eminence of figures like Cho Hunhyun; the Go board and its stones were nothing more than minimalist objects steeped in 5,000 years of history. It was only upon reading the writings of the revered Korean Go commentator Park Chimoon that he came to grasp the linguistic depth embedded within the game, realising that this particular match was not merely a game, but a fierce, war-like struggle. What began as a purely material interpretation shifted through the medium of language, revealing Go as a complex system of expression, challenging my perception. Now, Go resonates with me in such a
way that he can no longer distinguish which facet he perceive first: its aesthetic beauty or its profound, symbolic weight. The act of a single stone breaking free from the confines of the board, transcending the established system, now strikes me as emblematic of the courage that art demands, echoing fundamental questions about its very nature.