Installation view at the exhibition 'One hundred shadows', Seongbuk Art Pumping Station, Dimension variable, Seoul

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๋ฌด์—‡์ด ๋˜์ง€ ์•Š๊ธฐ ์œ„ํ•œ ํ˜•ํƒœ  Shape not to be anything

plywood, urethane foam, handy coat

180 x 133 x 215 (cm)

2018

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๋ฐ”๋‹ฅ์˜ ๋ฐ‘๋ฉด์—์„œ ์‚ฌ๋Š” ๋ชจ์–‘๋“ค The shapes that live on the bottom of the floor 

non-polyhedron made of reflecting paper, Arduino-dased device, motor, plywood, lumber

variable installation

2018

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  ๋ฐ•์˜ˆ๋‚˜ ์ž‘๊ฐ€๋Š” ํ•˜๋‚˜์˜ ์ด๋ฆ„, ์™„๊ฒฐ๋œ ๊ตฌ์กฐ๋กœ์„œ ์น˜ํ™˜๋˜์ง€ ์•Š๋Š” ์ƒ๋ช…๋ ฅ์„ ๊ฐ€์ง„ ์˜ค๋ธŒ์ œ๋‚˜ ์กด์žฌ๋“ค์„ ๋งŒ๋“ ๋‹ค. ์ด๋ฒˆ <๋ฌด์—‡์ด ๋˜์ง€ ์•Š๊ธฐ ์œ„ํ•œ ํ˜•ํƒœ>์—์„œ ์ž‘๊ฐ€๋Š” ์‚ฌ๋ฌผ๋“ค์˜ ๋ชจ์–‘๊ณผ ํŠน์ง•์„ ์ถ”์ถœ, ์กฐํ•ฉํ•˜์ง€๋งŒ ์ด๋Š” ๊ฒฐ์ฝ” โ€˜๋ฌด์—‡โ€™์ด ๋˜์ง€ ์•Š๋Š” ๋ฏธ์™„๊ฒฐ ํ˜•ํƒœ์˜ ์กฐํ˜•๋ฌผ์ด๋‹ค. ๊ด€๋žŒ๊ฐ์€ ํ•˜๋‚˜์˜ ์กฐํ˜•๋ฌผ์„ ๊ด€๋žŒํ•˜๊ฒŒ ๋˜์ง€๋งŒ ๋ณด๋Š” ๊ฐ๋„, ์œ„์น˜์— ๋”ฐ๋ผ ์œ ์šฉํ•œ ๋ฌผ๊ฑด์ด ๋˜๊ธฐ ์ „ ์‚ฌ๋ฌผ์˜ ๋‹ค๋ฉด์  ํ˜•ํƒœ๋ฅผ ๊ฒฝํ—˜ํ•˜๊ฒŒ ๋  ๊ฒƒ์ด๋‹ค. ์ด๋Š” ์‚ฌํšŒ์ ์œผ๋กœ ์œ ํšจํ•œ ํšจ์šฉ ๋ฐฉ์‹์„ ๊ทœ์ • ์ง€์œผ๋ ค๋Š” ๊ฒƒ์„ ๊ฑฐ๋ถ€ํ•˜๊ณ  ์™„๊ฒฐ๋œ ํ˜•ํƒœ์— ๋Œ€ํ•ด ์˜ค๋žœ ์‹œ๊ฐ„ ๊ณ ๋ฏผํ•˜๊ณ  ์˜๋ฌธ์„ ๊ฐ€์กŒ์„ ์ž‘๊ฐ€์˜ ์ƒ๊ฐ๊ณผ๋„ ๋ถ€ํ•ฉํ•œ๋‹ค. ์ด์ฒ˜๋Ÿผ ์ž‘๊ฐ€๋Š” ๊ทœ์ •๋˜๋Š” ๊ฒƒ์„ ๊ฑฐ๋ถ€ํ•˜๊ณ  ์ดํƒˆํ•˜๊ณ  ๋›ฐ์ณ๋‚˜๊ฐ€๋Š” ์—๋„ˆ์ง€๋ฅผ ๋ณด์—ฌ์ค€๋‹ค. ์ด๊ฒƒ์€ ์ผ๊ฒฌ ์œ„ํƒœ๋กœ์›Œ ๋ณด์ผ์ง€๋„ ๋ชจ๋ฅด์ง€๋งŒ ํฌ์„ญ์˜ ๊ฒฝ๊ณ„์—์„œ ์‚ญ์ œ๋œ ์กด์žฌ์˜ ๋‚ ๊ฒƒ ๊ทธ๋Œ€๋กœ์˜ ๋ชจ์Šต์„ ์ผ์ˆœ๊ฐ„ ๋“œ๋Ÿฌ๋‚ธ๋‹ค. โ—์ดํ˜„๊ฒฝ, ์ด์žฌํ™”

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  I enlarged the work into a bigger scale than a person and chose minimal features that are from designed and functional daily objects to create a noble monumental sculpture. This large white sculpture is an abstract form assembled with different corners and shapes from several functional objects, eliminating their value of efficiency. itโ€™s a single sculpture, but based on the viewing position and the angle of light, you can see a multi-faceted figure. The shapes have both familiarity and unfamiliarity Standing on the Floor unstably.

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Text(Korean).pdf

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๋ฌด์—‡์ด ๋˜์ง€ ์•Š๊ธฐ ์œ„ํ•œ ๋ชจ์–‘
Shape not to be anything

plywood, urethane foam, handy coat
180x133x215(cm)
2018
ํ•˜์–€ ํ‘œ๋ฉด์„ ๊ฐ€์ง„ ์ปค๋‹คํ•œ ์ด ์กฐํ˜•๋ฌผ์€ ๊ทธ์ € ์ถ”์ƒ์ ์ธ ํ˜•ํƒœ ๋กœ ๋ณด์ด์ง€๋งŒ, ์‚ฌ์‹ค ๋‹ค์–‘ํ•œ ์ผ์ƒ ์‚ฌ๋ฌผ๋“ค์„ ๊ธฐ๋ณธ ๋‹จ์œ„๋กœ ํ•ด์ฒด ํ•˜๊ณ , ์‹ค์šฉ์„ฑ์„ ๊ฐ€์ง„ ๋ชจ์–‘๊ณผ ํŠน์ง•์„ ์ถ”์ถœํ•˜์—ฌ ์กฐํ•ฉํ•œ ๊ฒฐ๊ณผ๋ฌผ์ด๋‹ค. ๊ณ ๊ท€ํ•œ ๊ธฐ๋…๋น„ ๊ฐ™์ด ๋ณด์ด๋Š” ์ด ๊ฑฐ๋Œ€ํ•˜๊ณ  ๋ฌต์งํ•œ ์กฐํ˜•๋ฌผ์€, ์ฑ…์ƒ, ์˜์ž, ์นจ๋Œ€, ํŒŒํ‹ฐ์…˜๊ณผ ๊ฐ™์€ ์ผ์ƒ์  ์‚ฌ๋ฌผ๋“ค์˜ ๋ถ€๋ถ„๋“ค์„ ํฌํ•จํ•˜๊ณ  ์žˆ๋‹ค.
์ด ์กฐํ˜•๋ฌผ์€ ๋ณด๋Š” ๊ฐ๋„์— ๋”ฐ๋ผ ๊ณ„์†ํ•ด์„œ ๋‹ค๋ฅธ ํ˜•์ƒ์ด ๋˜๋„ ๋ก ๋งŒ๋“ค์–ด์กŒ์œผ๋ฉฐ, ํ•œ์ชฝ ๋ฉด์„ ์‘์‹œํ•  ๋•Œ ๋‹ค๋ฅธ ํ•œ์ชฝ ๋ฉด์˜ ๋ชจ์Šต ์„ ์˜ˆ์ธกํ•  ์ˆ˜ ์—†๊ฒŒ๋” ๋งŒ๋“ค์–ด์กŒ๋‹ค. ์ต์ˆ™ํ•จ์— ๋”ํ•ด์ง„ ๋‚ฏ์„  ๊ฐ๊ฐ์€, ์‹ค์šฉ์„ฑ์˜ ๊ฐ€์น˜๋ฅผ ํƒˆ๋ฝ์‹œํ‚ค๊ณ  ์ฆ‰๊ฐ์ ์œผ๋กœ ํŒŒ์•…ํ•  ์ˆ˜ ์—†๋Š” ์กด์žฌ์˜ ๋‹น์œ„์„ฑ์„ ๋ถ€๊ฐ์‹œํ‚จ๋‹ค. ์ž‘์—…์ด ๊ฐ€์ง„ ๋‹ค๋ฉด์„ฑ์€, ์ด๊ฒƒ์„ ํŠน์ •ํ•œ โ€˜๋ฌด์—‡โ€™์œผ๋กœ ์ธ์‹ํ•˜์ง€ ๋ชปํ•˜๊ฒŒ ๋ฐฉํ•ดํ•œ๋‹ค.
๋ฐ”๋‹ฅ์˜ ๋ฐ‘๋ฉด์—์„œ ์‚ฌ๋Š” ๋ชจ์–‘๋“ค
๋ฐ”๋‹ฅ์˜ ๋ฐ‘๋ฉด์—์„œ ์‚ฌ๋Š” ๋ชจ์–‘๋“ค
Shapes living underneath of a floor

non-polyhedron shapes made of reflecting paper, motor, Arduino, wood
2018
๋ฐ˜์‚ฌ์ง€๋ฅผ ์‚ฌ์šฉํ•˜์—ฌ ๋งŒ๋“  ๋น„ ๋‹ค๋ฉด์ฒด ํ˜•ํƒœ๋Š” ๊ณก๋ฉด๊ณผ ์œ ๊ฒฉ์œผ๋กœ ์ธํ•ด ๊ฐ ๋ฉด๋“ค์ด ๋”ฑ ๋งž๋ฌผ๋ฆฌ์ง€ ๋ชปํ•˜๋Š”, ๋‹ค์†Œ ์ œ๋ฉ‹๋Œ€๋กœ์˜ ๋ชจ์–‘์ด๋‹ค. ๋‹ค๋ฉด์ฒด๊ฐ€ ๋˜์ง€ ๋ชปํ•œ ์ด ๋ชจ์–‘๋“ค์€ ์–ด๋‘์šด ๋ฐ”๋‹ฅ์˜ ๋ฐ‘๋ฉด์— ๋น›๊ณผ ํ•จ๊ป˜ ์„ค์น˜๋˜์–ด, ๊ฐ์ž ๋‹ค๋ฅธ ์†๋„์™€ ๋ฐฉํ–ฅ์œผ๋กœ ํšŒ์ „ํ•˜๋Š” ์›€์ง์ž„์„ ๊ฐ–๋Š”๋‹ค. ๋น„ ๋‹ค๋ฉด์ฒด์˜ ๋ถˆ๊ท ์ผํ•œ ๋ฉด๋“ค์€ ์„œ๋กœ ์„œ๋กœ ๋น›์„ ๋ถˆ๊ทœ์น™ํ•˜๊ฒŒ ๋ฐ˜์‚ฌํ•œ๋‹ค. ์ด๋Ÿฌํ•œ ์‚ฐ๋ฐœ์ ์ธ ๋ฐ˜์‚ฌ๋Š” ๋ฐ”๋‹ฅ์˜ ๋ฐ‘๋ฉด ๊ณต๊ฐ„์— ๊ฒฐ์ฝ” ๊ทœ๊ฒฉํ™” ํ•  ์ˆ˜ ์—†๋Š” ๋‹ค์ฑ„๋กœ์šด ํ˜•์ƒ์˜ ๋น› ์กฐ๊ฐ๋“ค์„ ์ฑ„์šด๋‹ค.
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Installation view at the exhibition 'Touch dry', aloq episode, Seoul, Korea

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ํ•˜์–—๊ณ  ๋งค๋„๋Ÿฌ์šด ํ‘œ๋ฉด์ด์—ˆ๋˜ ๊ฒƒ๋“ค  Those that were white and smooth surfaces before

fragments of 'A shape not to be anything', plywood, lumber, urethane foam, handy coat

โ€‹variable installation

2018

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  ํ•ด๋‹น ์ž‘์—…์€ ์ด์ „ ์ž‘์—…์ธ โ€˜๋ฌด์—‡์ด ๋˜์ง€ ์•Š๊ธฐ ์œ„ํ•œ ๋ชจ์–‘โ€™์„ ํ•ด์ฒดํ•˜์—ฌ ๋งŒ๋“  ๊ฒƒ์ด๋‹ค. ๋ฌด์—‡์ด ๋˜์ง€ ์•Š๊ธฐ ์œ„ํ•œ ๋ชจ์–‘์„ ๊ฐ€์กŒ๋˜ ๊ทธ๊ฒƒ์€, ์‹œ๊ฐ„์ด ์ง€๋‚จ์— ๋”ฐ๋ผ ๋‹ค์‹œ๊ธˆ ๊ฒฌ๊ณ ํ•œ ์กด์žฌ๊ฐ๊ณผ ๋…์ž์„ฑ์„ ๊ฐ€์ง€๊ฒŒ ๋˜์—ˆ์Œ์„ ๊นจ๋‹ซ๊ณ , ๊ฒฌ๊ณ ํ•œ ๋ฌด์—‡์ด ๋˜์–ด๋ฒ„๋ฆฐ ๋ฉ์–ด๋ฆฌ๋ฅผ ๋‹ค์‹œ๊ธˆ ์กฐ๊ฐ๋‚ด์–ด ํŠน์ง•๋“ค์„ ํ•ด์ฒดํ–ˆ๋‹ค. ๋งค๋„๋Ÿฌ์šด ํ•˜์–€ ํ‘œ๋ฉด์„ ์ง€ํƒฑํ•˜๋˜, ๊ทธ ๋ฐ‘์œผ๋กœ ์ผœ์ผœ์ด ์Œ“์˜€๋˜ ๊ฑฐ์นœ ์ธต๋“ค์ด ๋“ค์–ด๋‚˜๊ณ , ๊ฑฐ๋Œ€ํ•œ ๋ฉ์–ด๋ฆฌ๊ฐ€ ๊ฐ€์กŒ๋˜ ํž˜๊ณผ ๊ฐ€์น˜๋ฅผ ํฉํŠธ๋ฆฐ๋‹ค. ๊ฒฐ๊ตญ ์กฐ๊ฐ๋‚˜ ๋ฐ”๋‹ฅ์œผ๋กœ ๋‚ด๋ ค์˜จ ๊ฐ๊ฐ์˜ ์กฐ๊ฐ๋“ค์€ ๋‹ค์‹œ๊ธˆ ๋‹ค๋ฅธ ๋ฌด์—‡์ด๋“  ๋  ์ˆ˜ ์žˆ๋Š” ๊ฐ€๋Šฅ์„ฑ์„ ๊ฐ€์ง„ ๊ณผ์ •์˜ ์ƒํƒœ๊ฐ€ ๋œ๋‹ค.

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  Later on, after showing this work, the big sculptural body began to have a unique and solid presence to me. So I decided to cut this into several pieces and divided features. Underneath the surface, rough layers became visible, and the power and value of the single mass scattered. And each piece fell to the floor and became a state of the process with possibilities. 

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  I made additional structures around the pieces, questioning how these broken pieces can regain value through boxing and placing them in structures that enclose and disclose them.

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 ๊ณ ๊พธ๋ผ์ ธ์„œ ์›์ด ๋œ ๊ฒƒ  Fell down and made a circle

digital print

broken plaster pieces of 'A shape not to be anything'

2018

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  • ํšŒ์ƒ‰ ์ธ์Šค ํƒ€ ๊ทธ๋žจ ์•„์ด์ฝ˜
  • ํšŒ์ƒ‰ ํŽ˜์ด์Šค ๋ถ ์•„์ด์ฝ˜

ยฉ 2017 by YENA PARK