 ‘Landscapic Algorithm,’ a series of works by artist Lee Sang-nam, are on display at the PKM Trinity Gallery, Cheongdam-dong. / Courtesy of PKM Trinity Gallery | By Cathy Rose A. Garcia Staff Reporter
Circles and lines dominate the enigmatic works of New York-based artist Lee Sang-nam. Some may feel the images evoke a Middle Eastern vibe, while others may see it as distinctly Asian work.
Lee's use of lines and circles has a deeper meaning. For the artist, the straight line symbolizes death and the circle represents life.
``The deep structure of my icons consists of straight lines and circles. All shapes are composite manifestations of this deep structure. The straight line is death, the circle is life. All time is a composite of straight lines and circles. My art always embraces the straight line of death and the circle of life. My art is found where line and circle vanish. This is what I call awakening or release to eternity,'' he said.
Throughout his career, Lee has focused on creating icons that are ``not about objects of nature, but shapes created by human imagination.''
When The Korea Times met with the artist last week, Lee was in the middle of last minute preparations for his first solo exhibition in Seoul in 11 years. ``Landscapic Algorithm,'' the first exhibition at the newly opened PKM Trinity Gallery, Cheongdam-dong, opened Thursday.
An algorithm is a detailed step-by-step problem solving procedure. Lee's series of works introduce his own formula for exploring the landscape.
His works are filled with geometric icons, which at a glance may seem like computer-generated images. But don't be fooled by the glossy look of his works.
Lee painstakingly creates these futuristic-looking icons on paper and cuts them out and transfers them on to a canvas using a stencil. He paints the image layers it with paint and sands it down more than 50 times to create a perfect surface with no stain or mark. Each work is ultra-smooth. Often, it takes three to four months to perfect one small work, while his larger pieces take months or longer. This is the same process he has been following for the past 30 years.

Lee sometimes uses lacquer. The results are mysterious black and white images with swirls of cool, jet-black black circles and lines on white surface. When light hits the lacquer-covered icons, there are different effects depending on where you stand.
Hur Si-young, PKM Trinity's Gallery director, said Lee has created his own language and dictionary of signs, symbols and shapes. She describes Lee's work as a combination of craftwork and fine art. ``His work is very contemporary, but the whole idea is rooted in tradition,'' she said.
For the exhibition, Lee brought 130 pieces, including his most recent works, from New York. There is one wall filled with dozens of his smaller pieces in different colors.
Hur said the meaning of Lee's work is subjective. ``One of my Korean friends said it looks Middle Eastern, but to Westerners, it looks Asian. For Lee, it reflects New York, where he has been living and working for nearly 30 years,'' she said.
A graduate of Hongik University, Lee moved to New York in 1981. He considers New York his home, but he continues to have a high profile in Seoul even though his last exhibition was in 1997. One newspaper even included him in a list of Korean artists whose works will be remembered 100 years from now. Several of Lee's works are on display in the lobby of LIG Tower, Yeoksam-dong.
``Landscapic Algorithm'' was originally supposed to run until May 7, but due to popular demand has been extended to May 20.
PKM Trinity Gallery is located in the second and third basementa of The Trinity Place building, in front of Galleria Luxury Hall, Cheongdam-dong. Visit www.pkmgallery.com or call (02) 515-9496.
cathy@koreatimes.co.kr | |
No comments:
Post a Comment