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0121-1110=110028, Wood, 230 x 146 x 110 cm, 2010

Some of his wooden sculptures might appear as though the spaces between the trunks have been filled in with a black substance but this is merely due to the effects of charring and shadows. To apply a finishing touch to his wood and nails sculptures, Jaehyo Lee first burns the materials and then sands down the exposed faces to create a high contrasting colours.

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0121-1110=195041, Wood, 200 x 200 x200 cm, 1995

Lee Jae Hyo has been creating wood masterpieces since 1990s. Lee was born in 1965 in Hapchen, Korea. He graduated from Hong-ik University with a Bachelor Degree in Plastic Art. He assembles natural materials such as wood pieces, branches and leaves, and iron nails into three-dimensional works which not only hold elegant forms but also convey a strong contemporary mood.

He has held many solo exhibitions in Korea, Japan, China, the United Kingdom and the United States. He won a number of honors, including Grand Prize of Osaka Triennial (1998), Young Artist of the Day presented by the Ministry of Culture of Korea (1998) and Prize of Excellence in the 2008 Olympic Landscape Sculpture Contest. His works are widely appreciated and adored by art collectors all over Asia, Europe and America.

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0121-1110=196061, Wood, 200 x 200 x200 cm, 1996

"My art is about the material," says Lee. "Everything begins and ends with the material. I simply want to show the nature of my common raw materials like wood and nails." His creative concern is "to discover a different way to present common materials." Obviously, he has succeeded in this area

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0121-1110=111083, Wood, 246 x 96 x 68 cm, 2011

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0121-1110=1140810, Wood, 130 x 130 x 47 cm, 104 x 106 x 85 cm & 105 x 102 x 85 cm, 2014

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0121-1110=116048, Wood, 200 x 120 x 125 cm, 2016

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0121-1110=104071, Wood, 70 ~ 240 cm, 15 pieces & 120 x 120 x 520 cm, 2004

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0121-1110=110092, Wood, 208 x 147 x 102 cm, 2010

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0121-1110=102101, Wood, 350 x 350 x 350 cm, 2002

“I want to express the wood’s natural characteristics, without adding my intentions.”

“Though I may take my time to create my pieces, though I may be an artist behind the times, this is who I am. … I’m just doing the work that fits me well, thus here I am still hammering away in this digital age.”

“The globe is the simplest form that demonstrates the wood’s original energy; no corners, no angles, and the same shape from whichever side you look at it. I like to make the most out of the material’s inherent feeling.”

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0121-1110=107077, Wood, 350 x 170 x 90 cm, 2007

Working with wood and metal, Jaehyo Lee produces immaculately formed, intricate sculptures that reveal a mastery of his materials and a winking, sophisticated wit. Lee eschews traditional distinctions between the fine and applied arts and makes both functional and functionless works, presenting benches, stools, and tables alongside abstract, biomorphic forms.

Burnt-black wood often serves as the sculptural ground into which Lee embeds discs of fresh wood or bent steel bolts and nails. His wood-on-wood combinations read as playful meditations on the multifaceted nature of wood itself, while the nails that often cover his wooden surfaces seem transformed into worms or spermatozoa—recalling a slithering, energetic galaxy of organisms. Korean, b. 1965, Hapcheon, South Korea

Jaehyo Lee

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The Intermediate – Dragon Conglomerate, 2016

Artificial straw, steel stand, powder coating, artificial plants, artificial fruits, artificial vegetable, plastic twine, Indian bells, fringes, casters, 180 x 115 x 114.9 cm

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The Intermediate – Running Firecracker, 2016

Artificial straw, steel stand, powder coating, casters, plastic twine, brass plated bells, copper plated bells, 155 x 120 x 122 cm

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The Intermediate – Inceptive Sphere, 2016

Artificial straw, steel stand, powder coating, artificial plants, artificial fruits, plastic twine, Indian bells, casters, 135 x 115 x 115 cm

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The intermediate - Asymmetric Quadrupedal Bushy-head, 2016 The Intermediates, a new group of works introducing extensive straw craftwork, focuses on the dispersion of materials and craft. While the various cultures of different regions have a degree of fundamental similarity, each civilization also constructs its own individuality; these works likewise explore folk concepts that have their own independent identity but, at the same time, a certain universality. Using straw―a material with folk implications, but which is common across human civilization―and the methodology of traditional straw craftwork, the artist approaches a level of interdisciplinary hybrid culture that transcends similarity and difference.

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Wild in Aspen: Wrapping up the Season, 2011

Four-way straight-arm clothing rack (chrome) on casters with nineteen arms, light bulbs (frosted), cable, bells, wigs, pillbox, chain, folder clips, winter coats, and jackets, 182.9 x 91.4 x 91.4 cm

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Biped Chalky of Innate Black, 2015 Cotton twine, dyeing, steel frame, powder coating, lampshade frames, steel wire, nickel plated bells, light bulbs, cable, 140 × 90 × 90 cm

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Sonic Sphere with Enthralling Trio – Diagonally-sectioned Brass and Nickel, 2016

Steel stand, metal grid, powder coating, casters, brass plated bells, nickel plated bells, metal rings, turbine vents, 93 × 87 × 89 cm

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Dance - Lunar-side Up, 2014

Steel stand, powder coating,brass plated bells, nickel plated bells, metal rings, 192 x 94 x 102 cm

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Tower on String - Facing New York, 2012

Aluminum Venetian blinds, powder-coated aluminum frame, 348 x 304.8 x 254 cm

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Jahnstraße 5, 2017

Installation, 5-parts, Aluminum Venetian blinds, aluminum frame, powder coating, perforated aluminum plates, light bulbs, cable

Dimensions variable, Edition 5/5, left: Kitchen boiler 80 x 44 x 32, right: Kitchen radiator 91 x 51 x 12

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Installation view, Shooting the elephant thinking the elephant, Leeum, Samsung Museum of Art, Seoul, Korea, 2015

Internationally renowned artist Haegue Yang creates installations that include photographic, video, and sculptural elements, and are informed by the artist’s philosophical and political investigations. Responding to the places where she exhibits, Yang creates site-specific new work that incorporates both the architecture of the exhibition space and materials gathered from the region. Her highly refined and yet completely particular sense of materiality, combined with an elegant sense of space and atmosphere, contribute to her enveloping and resonant installations.

Haegue Yang (born December 12, 1971) is a South Korean artist. She lives and works in Berlin and Seoul. Yang often uses standard household objects in her works, and tries to liberate them from their functional context, and apply other connotations and meaning to them. “Linguistic and didactic processes” are central features of her work. Much of Yang’s artworks attempt to provide sensory experiences through abstract narratives.

Haegue Yang

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Cactus No.93 2015 oil on canvas 259.1x193.9 cm

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Cactus No.61 2011 Oil on canvas 100x100 cm

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Untitled 5095, 2016 Oil on canvas

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Cactus No.51 2010 Oil on Canvas 194x200 cm

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Cactus No.92 2015 oil on canvas 259.1x193.9 cm

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Cactus No.71 2011 oil on canvas 107.5x145.5 cm

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Cactus No.96, 2015 Oil on canvas

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Cactus No.63, Oil on canvas, 106x100 cm, 2011

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Cactus No.59 2011 Oil on canvas 259.1x170 cm

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Cactus No.81, 2013 Oil on canvas

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Untitled 1212, 2017 Oil on canvas

Born in 1967 Seoul, Lee Kwang-Ho has attended Seoul National University under the Major of painting, and further continued to pursue his postgraduate degree at Seoul National University. He has had solo exhibitions of (Johyun Gallery, 2011), (Kukje Gallery, 2010), (Changdong studio gallery, 2006), and participated in group exhibitions of the following; (Seoul Museum of Art, 2011), (Gana art center, 2011, Seoul), (Johyun Gallery, Seoul, 2011).

Lee Kwang-Ho, is a representative figure in realism paintings. He takes daily subject matters and takes the reproduction of their forms into a unique language of his own. Although realism seems like quite a laborious task and sometimes compulsive as well, through the pictorial depiction of Lee Kwang-Ho, we see the reconstructed reality fabricated by his intentions. Subjects that are expressed both vigorously and dramatically expose the desires of their subconscious, and also stimulates the tactility of those that behold them.







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