Soft Crash : Byoung Ho Kim


Soft Crash/ aluminum, piezo, arduino / 330x330x165(d) cm / 2011



One of the defining characteristics of Baroque music is the basso continuo. In rock music, the basso continuo -- as represented by the bass guitar -- does not reveal its distinctive tones, drowned out as they are by drums and electric guitars. However, it does serve to add a sense of tension to the piece as a whole. Without that ever-present basso continuo, like the sound of a beating heart, the tension present in Baroque music would never have come to be. Though the basso continuo is nearly imperceptible, the beat of Baroque music owes itself to that sound. This is similar to the style of Tenebrism in Baroque painting. This style is characterized by a powerful contrast between light and dark on the canvas, as seen in the works of Caravaggio. By themselves, the dark backgrounds in Baroque painting may be meaningless to us, not representing any obvious object of perception, but they constitute an unconscious foundation that generates a dramatic sense of tension in the canvas as a whole. In other words, minute elements that are not directly perceived by the consciousness function to create a feeling of artistic tension.



Subsequent Events/ brass, piezo, arduino / 160x300x190(h) cm / 2012

The work of Kim Byoung-ho represents a process of creating a fantasy out of these minute perceptions. Kim gathers very tiny elements, imperceptible to the eye like viruses, and groups them together to create highly sophisticated forms. At first glance, the resulting shapes resemble the kind of ordinary objects and structures that we encounter on a daily basis. But Kim's works possess a tension within them that cannot be found in ordinary objects or simple structures. Like the sound of the basso continuo, microscopic viruses are endlessly bursting forth. Expressed in visual terms, they are like tiny bits of pollen flying through the air. It is for this reason that Kim's works are not simply objects, but fantasies. If they were simply objects, not only would there be no tension present, but no fantasy would take shape either. Fantasy must by necessity carry with it a relationship of tension with reality or the object. - Park Young Wook

Byung Ho Kim

Moving : Kun ju Kim




연유 II(in this connection), Mixed Media, 80 x 80 x 230cm, 2012 detail



연유 II(in this connection), Mixed Media, 80 x 80 x 230cm, 2012



Moving / relaxation, Mixed Media, 150 x 130 x 150cm, 2012



Artist, F.R.P,urethane paint , 80 x 43 x (h)45cm, 2010

Monologues are long hours. Work is results that is gotten through process like monolog of life to me. And it will be always lived in a monologue. Artist thinks if result that is detected through method and it of monolog is not left soon completely in his life and work.

That mutter of only one person who my monologs coin sweetish language as monologs as that recite and conversation that expose direction of sight of subjective sensitivity or do derivative plosive same monolog / love in ideal things and realistic collision / as traveler of life that is opposite with viscount pole same meditations / solitude doing on bet making new amusements quiet shout / pale confession etc.. like unavoidable that wait .. Everybody are work and connection monologs that can not but be indited. Such monologs want to be hanged down by one veins strike, and are woken and unite. - Kun ju Kim

Organic Steel Sculptures : Yong Sun Jang




Dark matter1203 - scorched stainless steel 274×203×58cm 2012

'The cross-section of pipes looks like a single cell structure; the arrangement of the pipes is lively and vivid, like a wriggly living structure, as if it were about to come to life'. This is the artist statement, or confession, you may say, on how the origin and conception of his works evolved, and I believe it is the clue to lead us to better understanding of Jang's world.  In fact, the cross-section of the compiled pipes might first remind us of single-cell organisms; this first impression is arbitrary and artificial (in a creative way), derived by Jang's interpretation, but not because these features are inherent in the material itself (pipes). Jang captured this motif by capturing the external similarity in forms. For the artist, the conception is very concrete. 



Jang regards the cross-section of pipes with the cells in the same light as the arrangements of pipes as an organic being. The cross-sections, having been put together, produce a kind of arrangement (and pattern), the individual cells constitute and eventually produce a lively being. Along with the formal similarity, there is an analogical reasoning process that regards the real and imagined in the same light. The way of putting together the cross-sections of pipes and the notion that the individual cell is the essential building block of a life form are the quintessential and substantial skeleton concepts of his works. Based on all of these, we can glimpse Jang's interests in and ideas toward vitality. This was made possible because Jang continuously pursued his interest in life on a daily basis, so some things that might easily be overlooked or acquiesced to were not left neglected despite seeming incidental.



Dark matter - scorched steel 264×240×189cm 2010




Particle 431022 1 - steel 100×100×100cm 2009

In an analysis of Jang's sculptures from the aspect of external features, overall, the shapes of his sculptures could be described as simple forms that remind the viewer of cell nuclei or protoplasmic matrices. In this regard, Jang's works resonate a strong vitality as if they might immediately go through cell divisions and expand into a further unknown dimension. Jang's finished works clearly show that the figures are not end products in themselves, but are instead in a constantly changeable status as if they might instantly expand or shrink. This implied mobility or fluidity is the essence of Jang's vitalism sculpture, and makes his work different from previous vitalism sculptures that simply offer organic features through the manipulation of materials, urging the audience to rely on his or her own persistent imagination to further fully understand the work.

Jang Yong Sun
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