2010 도일 조각전

DOIL Sculpture Exhibition (Gallery biim,Seoul)

몽선 2010. 9. 9. 11:45

   

 

 

 

 

 

 

Free from the Object?

the Shape Engraved in Mind, That is a Sculpture 

 

Park So-Hee (Ph. D in Formative Arts)

 

 

1.

American Marxist philosopher Frederic Jameson(1934-) argues in his classic essay “Reification and Utopia in Mass Culture” that modern people do not see a landscape ‘as natural as nature itself’ any longer, but they transform the natural space into a material image and take it as a personal property. The concrete act of looking at a landscape, that is, the act of seeing, has been conveniently commercialized through the means of photography. This suggests that such goods in the consumer society have an aesthetic aspect. When embracing this view, it can be said that the procedure of commercialization is related to aesthetics. In today’s world where everything is materialized as Jameson mentioned, the thoughts of an artist are still the most important factor, but they can only be expressed through materials and tools. Unlike Marcel Duchamp(1887-1968), who reversed the function of an object in order to carry out the concept of anti-art, Doil’s new works are aimed at offering a timeless reflection on the material civilization in general. He used kitchen utensils such as spoons, chopsticks, forks, knives, and bowls as the objects, and treated the metals lightly and casually as if drawing in a space by cutting, hammering, and sticking them together. Cutting spoons, chopsticks, forks, and knives into pieces and welding their ends to each other just like pasting sheets of paper together, Doil keeps a certain distance from massive sculptures and allows us to appreciate the formative beauty of the works and the artist’s labor behind them. However, his works are not light but serious, and that quality comes from their structural and solid forms. While paintings are created upon the recognition of a two-dimensional surface, sculptures are based on a three-dimensional space. Doil’s sculptures deal with the relationship between two dimensions and three dimensions in the process of developing from dots to lines to planes to solids. It can be assumed that those pieces of spoons, chopsticks, forks, and knives could have been put together in an infinite number of different forms. Indeed, they can be transformed without limit just like plants growing freely. Such way of working leads his works to reveal all the processes of creating volume and mass in an empty space by attaching the cut pieces together.

 

2.

The kitchen utensils, which were used as materials in Doil’s works, tend to represent not just individuality but the common culture of a family, community, society, and even a nation. They are the objects that have been contacted with people’s bodies and used for eating and relaxing. The artist says he got the materials from his friends, junk shops, and restaurants that were closing down. With the pictorial idea of drawing endlessly, Doil used these materials to produce his own style outside the traditional concept of sculpture by repeatedly welding and connecting them, defining a space and shaping forms. His use of such materials as spoons, chopsticks, forks, and knives not only expanded the boundaries of materials and expression!, but also provided an opportunity to bring the public and the arts together by translating social realities into artworks. Among others, his installations of <Gun Series> were produced in the shape of guns with assemblage techniques, show the development of food culture into an art form in a humorous way. More specifically, they allegorically expressed the threat of food war and warning against it. Like this, those kitchen utensils take a certain object out of its traditional image or role and place it in another context. In other words, it is to bring a completely new understanding of the object based on a new perception of its being rather than to express its typical image. Such work is driven by the desire to see an object as it is without being swayed by the preconception or fixed images of the object. This means the change from “what one has seen” to “what it shows.”

 

3.

According to French semiologist Roland Barthes(1915-1980), everyday life is considered not a mere repetition but a spectacular visual art representing the rapid change of daily life in the gigantic and highly developed modern world. The concept of “dailiness” takes an important part in discussions of modern art. For instance, Doil tries to share the meaning with more people in the works <One Step, one Drink> and  <Ten Thousand Lives> by presenting the images of 108 human lives out of the everyday life of today’s people, which are associated with the 108 Defilements of Buddhism. The works are expressed with a spatial drawing by cutting, hammering, and welding spoons and chopsticks. He seems to give great attention to trivial details of each individual’s personal life. Artists find their subjects and materials from the ordinary things in their daily lives. The reality of our everyday life is neither graceful nor perfect, but it can be switched into a special one depending on how an artist sees it. At times, a mediocre life can be uplifted to a monumental level, looking all colorful and spectacular. A variety of different ways of artists interpreting and expressing everyday life fully exhibit their identity as artists.

 

4.

One of Doil’s latest works <Beyond the Line 1>, for which he cut stainless spoons into smaller units and welded them together, shows the artist’s intention to emphasize planes rather than lines and to pursue systematically constructed forms rather than a clear and open space. The shape of the structure made by attaching cut pieces of spoons to each other is a sound expressed in sculpture and a flow of rhythm, bringing the image of a growing flower or a largely expanded plant. He polished the surface after the shaping process was finished. Taking special note of such factors as lighting and surrounding environment when arranging the complete work, Doil gave a dramatic and narrative effect to the work with change of light and unique arrangement. The curved shape of the polished surface implies the two meanings of “reflection,” which are “sending back” and “thinking carefully.” That means it was aimed at confusing our perception of the gestalt by reflecting outside space and mixing with surrounding environment. The reflection of light on the surface mainly plays the role of making it hard for viewers to recognize exactly what it is and what there is by distorting their vision. As a viewer moves, what is reflected from the surface of stainless spoons also changes. The number of objects may increase or decrease, and their volume may also grow bigger or smaller. Even a part can be cut out and their shape can become blunter or thinner. Many different distortions can be created like this. As a result, our vision becomes something unreliable and extremely unpredictable. <Beyond the Line 2> and <White Hole>, works that are installed on the floor, are associated with natural objects such as sperms or growing plants. Shapes free from their natural objects are indeed the theme and contents of Doil’s works. While the shapes he created cannot be conclusively said to have nothing to do with nature, they also cannot be said to be imitations of nature. The artist manifests the shapes engraved in his mind by the means of material.

  

 

 

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

 

 

 

 

 

 

 

 

 

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

 

 

 

 

 

 

 

 

 

 

 

 

  

  

 

 

 

 

 

   

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

 

 

 

 

 

 

 

 

 

 

     DoiL     

 

Born in Nonsan Chungnam S.Korea

B.F.A in Sculpture. Colleage of Fine arts. Chung-nam National University

 

 

<Solo Exhibitions>

2010 Doil Invited Exhibition (Gallery biim, Seoul)

2009 La Mer Leading Artists, DoiL Invited Sculpture Exhibition

        :Secret Garden of MoM (Gallery La Mer, Seoul)

2008 Beyond The Line (GANA ART SPACE, Seoul)

2007 Chew (INSA ART CENTER, Seoul)

2002 Invited Exhibition-tree (LOTTE art Gallery support program, Daejeon)

1999 Doil Invited Exhibition (Daeharkro 21C Gallery, Daejeon)

 

  

<Invited & Project Exhibitions>

2010

· BIG-BANG; 5 Lines of Sight(Dalria Gallery,Singapore) 

· How do the form and the image of objet harmonize?(GALLERY i,Seoul)

2009

· Haslla Open Air Museum International Symposium & Residency Program

  (Haslla Art World Open Air Museum, Gangneung)

· Ever-Cycle Exhibition (Haslla Art World Open Air Museum, Gangneung)

· Fearful Art (Create Center of Deajeon City Art Museum, Daejeon) 

· Admiration of Green - Sing the nature by new materials (Samsung C&T Garden,Seoul)

2008

· Transfer Contempoary Art Exhibition(Gallery Ho, Seoul)

· The memory of autumn展(Hyun-dae department Cheonho,Seoul)

· Seoguipo chilshipri Arts Festival (Cheonjihyeon, Seoguipo)

· Steel Art (Hyun-dae department trade center, Seoul)

2005

· looking for the treasure on painting book

  (Goyang Culture Foundation eoyulim Museum of arts, Goyang)

2004

· Funny maze travel-25 messages(Kyoungi culture foundation Arts center, Suwon)

· Spring of Change (City Museum of arts, Daejeon)

2003

· Looking for treasure-shopping/shocking, Artists had gone department

  (LOTTE Art Gallery, Daejeon)

· SOLLEN; Collaboration with Kim, in / Doil / Lee, Seung-Whan /Lee, Jae-ok

  (E-GONG Gallery, Daejeon)

2002

· SOLLEN; Collaboration with Kim, in / Doil / Youn, yeo-gun / Lee, Seung-Whan  /

  Lee, Jae-ok (EGONG Gallery, Daejeon)

2001

· SOLLEN; Collaboration with Kim, in / Doil / Youn, yeo-gun

  (Daehangno 21C Gallery, Daejeon)

2000

· SOLLEN; Wind bell (Daehangno 21C Gallery, Daejeon)

1999

· SOLLEN; A big tree (Daehangno 21C Gallery, Daejeon)

1998

· BIG-BANG/BIG-BANG (Daehangno 21C Gallery, Daejeon)

· SOLLEN; Stone on the broad field(Daehangno 21C Gallery, Daejeon)

1997

· Prospect and jump (Eunha Gallery, Seoul)

· BIG-BANG; The Root Sculpture Exhibition(Samsung Life Gallery, Daejeon)

1996

· DEX-Double Exhibition of Existence embodiment(Guanwhon Gallery, Seoul) 

· Stream of plastic (DAN-SEONG Gallery, Seoul)

· Tism-1996; Time.Space.Man (Gallery Time.Space.Man, Busan)

· Korean Arts: Identity and Sprit (Chohyung Gallery, Seoul)

· LES TRENTES (Moonhwailbo Gallery, Seoul)

· BIG-BANG; Between Sculpture Exhibition(Samsung Life Gallery, Daejeon)

· HAN-SOL Gallery Commemoration Exhibition(HANSOL Gallery, Seoul)

· HumanㆍNature (Woonhyun palace Museum of arts, Seoul)

1995

· NEW-FORM (YOON Gallery, Seoul)

· Spread of consciousness (Seoul arts center Palace of Arts, Seoul)

· SeulArk International biennale (Seulark plaza, Sokcho)

· Jungsun Arari painting festival (Culture center, Jungsun)

· SALA SALA! (Chungnam National Uni. Baekma Arts Hall, Daejeon)

1995

· BIG-BANG: Collaboration with Doil / Park, Cheoul-chan / Lee, hae-jung /

  Sculpture Exhibition (Hongin Gallery, Daejeon)

1994

· Human-Art, Human-Document (Culture hall, Busan)

· Sulark nature arts feastival (Sulark plaza, Sokcho)

· Yousung hot spring Culture festival(Yousung special stage, Daejeon)

·  Incheon Environment arts festival (Total arts hall, Incheon)  

 

<Group Exhibitions>

2007-2010

· Chungnam study of Sculpture Exhibition (Daejeon Cityhall Gallery, Daejeon)

2002

· Openning of the Chungnam National Uni. 50th Anniversary Grand arts festival

  (Chungnam National Uni. grass plaza, Daejeon)

1995

· Chungnam colleague exhibition(Chungnam National Uni. Bakma arts hall, Daejeon)

1994

· Korea Young artists festival (Total Arts hall, Incheon)

1993-96

· Chunnam Young Artist arts festival(Seosan ,Chunan, Buyeo, Gongju)

1992-06

· Chunnam National Uni. Outdoor Sculpture exhibition

  (Chungnam National Uni grass plaza, Daejeon)

1994

· Daejeon city Arts festival (Civil hall, Daejeon)

1992

· Busan Grand Outdoor Sculpture Exhibition (Olympic hill, Busan)