Reciprocity Series
My art concept was deeply inspired by Korean artist Lee Ufan’s theory of Encounter, in which the interrelation between a thing and its environmental factors is more important than its physical state in the investigation of its sameness and otherness. Lee’s theory profoundly influenced the Japanese sculptural movement Mono-ha and the Korean painting style Dansaekhwa, both of which were contemporaneous with the post-minimalist art movement of the 1970s. Although the art in accordance with Lee’s concept was formally similar to minimalism, it is significant in that it has built a unique aesthetic concept based on East Asian thought. As a result, my early research focused on the process of creating and presenting Gong-gan-seong (my theory of spatiality) for demonstrating the existence and significance of this practice. More recently, the meaning of Gong-gan-seong has been expanded and rediscovered by adopting other post-minimal concepts.
My research is currently trying to identify and distinguish the Gong-gan-seong in two respects: epistemological and structuralist. The reconstructed structures of everyday materials present various interactive relations in my practice, and the cultural elements of the work allow a differentiated approach to audiences who have a related cultural background. Therefore, the ring of epistemological approaches that I am particularly interested in at this stage is ethnic sentiment. In my recent practice, including particular cultural factors, two contrasting approaches, epistemological and structurist, are being invoked in the same work, and I have embarked on a study to identify and control them. I regard that allowing room for an epistemological approach can be one way to communicate spatiality more easily or strongly to the audience, although my practice gives more weight on the structuralist approach.
My research is currently trying to identify and distinguish the Gong-gan-seong in two respects: epistemological and structuralist. The reconstructed structures of everyday materials present various interactive relations in my practice, and the cultural elements of the work allow a differentiated approach to audiences who have a related cultural background. Therefore, the ring of epistemological approaches that I am particularly interested in at this stage is ethnic sentiment. In my recent practice, including particular cultural factors, two contrasting approaches, epistemological and structurist, are being invoked in the same work, and I have embarked on a study to identify and control them. I regard that allowing room for an epistemological approach can be one way to communicate spatiality more easily or strongly to the audience, although my practice gives more weight on the structuralist approach.
Corner Stone in Frame, 2020, Broken stone brick from Rome, wooden frame, 84x120cm.
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Wood, Calico & Stone in Frame, 2020, stone, broken wooden stick, calico and wooden frame, 120 x 84cm.
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Wood & Plastic in Frame, 2020, severed table leg and wooden frame, 120 x 84cm.
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Recoder & Stone in/out of Frame, 2020, recorder, stone and wooden frame, dimensions variable.
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Bamboo, Calico and Stone in Frame, 2020, stone, bamboo stick, calico and wooden frame, 84x120cm.
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Steel & Earthenware in Frame, 2020, steel rib bar, earthenware and wooden frame, 120x62cm.
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Calico & Calico in Frame, 2020, calico and wooden frame, dimensions variable.
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Wood, Calico and Stone in/out of Frame, 2020, mop handle, calico, stone and wooden frame, dimensions variable.
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Stone & Calico with Frame, 2020, stone, calico, wood and air plant, dimensions variable.
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