Mirror Drawing #4 / 2011
unique plywood, mirrors, lights, 31 x 25.75 x 5.25 in
Chul Hyun Ahn is a member of a group of young light artists including Olafur Eliasson, Ivan Navarro, Spencer Finch, and Leo Villareal. Ahn creates meditations on zen notions of the infinite and the void which distinguishes Ahn's oeuvre from other artists working with light.
Ahn’s multiple on-going sculpture series including "Forked Series" and "Tunnel Series" systematically explore the limitations of space and optics.
Void / 2011
cast acrylic, mirrors, lights, 230.4 x 181.6 x 31.8 cm, 3ED 1AP
Hilarie M. Sheets, contributing editor of ARTnews who also writes regularly for The New York Times, Art In America, and Art + Auction, said his work is "At once thrilling and ominous, it suggests a rabbit hole to another world—underwater, outer space, afterlife—or journey to the unknown, the kind of leap of faith involved in the artist’s own passage to an unfamiliar country and language."
Mirror Drawing #2 / 2011
plywood, mirrors, lights, 45.5 x 45.5 x 5.5 in
As a pillar in the resurgence of light art, "Ahn creates sculptures utilizing light, color and illusion as physical representations of his investigation of infinite space." Ahn lives and works in Baltimore, Maryland where he is represented by C. Grimaldis Gallery.
Mirror Drawing #4 / 2011
'Eclipse' typeface family - Regular, Light, Lunar, Solar
Junglim Foundation - Junglim Architecture Awards 2014
The 2nd ShangHai Biennial of Asia Graphic Design in Shanghai library, Shanghai, China
"The Promise" 1966 Writer, Penciller, Inker, Letterer, Cover Artist
Sanho Kim (born 1939 in South Korea) is a Korean comic book artist, considered the first artist working in a manhwa style to be published regularly in the United States. The bulk of Kim's American work was for Charlton Comics' horror comics, as well as the Kung fu title House of Yang.
In Korea, Kim is known for the bestselling title Lifi, as well as his more recent History of Great Korean Empire. Lifi encouraged the Korean people to rise from the destruction of the Korean War, and is still imprinted in the minds of many people as Korea's first science fiction comic. Though Kim has worked in many styles and genres, the common theme that runs through his work is the pride and spirit of the Korean people.
In 1966, Kim moved to the United States, setting up a publishing house and working as an art director at the magazines Off Broadway and Village Times.
By 1969, Kim had connected with the American comic book industry, eventually garnering over 300 credits during the period 1969–1976. The bulk of Kim's output during this time was for Charlton Comics, but he also worked for Warren Publishing, Skywald Publications, and Marvel Comics. With his Korean-informed style, Kim became the first manhwa/manga artist working to be published regularly in the United States.
CharltonFor Charlton, Kim worked on a number of the company's horror and suspense titles, particularly The Many Ghosts of Doctor Graves, Ghost Manor, Ghostly Haunts, Ghostly Tales, and Haunted. (In addition to providing artwork for many interior stories, Kim painted all the covers for Ghost Manor vol. 1.) He also illustrated stories for the Charlton Western comics Billy the Kid and Cheyenne Kid, and the war comic War.
Kim's most important and artistically successful effort was for House of Yang (1975–1976), a spinoff of the Charlton title Yang, which ran from 1973–1976. The Yang titles were intended to capitalize on the mid-1970s Kung Fu craze in general and the television show Kung Fu in particular. House of Yang was set in Asia, which perfectly suited Kim's background and style. Kim had been slated to design and illustrate the original series, which he had titled Wrong Country, but the artwork was misplaced and Charlton regulars Joe Gill and Warren Sattler filled in for the duration of Yang's run. (The lost artwork for Wrong Country later turned up and was printed the CPL Gang fanzine Charlton Bullseye.)
Other Charlton titles Kim contributed to, though in a more sporadic fashion, included Beyond the Grave, Bounty Hunter, Fightin' Army, Fightin' Marines, Haunted Love, Scary Tales, Space Adventures, and Sword & Sorcery. During the period 1969–1976, Kim did countless covers for Charlton titles as well as interior lettering.
Other U.S. publishersWhile working for Charlton, Kim freelanced for Warren Publishing, crafting a backup feature in Vampirella and contributing to Eerie in 1971–1972. For Skywald Publications from 1974–1976, Kim did the art for The Fiend of Changsha and Horror. Benefiting from the notoriety of his Asian-themed work for Charlton, Kim moved to Marvel Comics in 1975, contributing stories to the black-and-white comics magazines Deadly Hands of Kung Fu, Monsters Unleashed, and Swordquest.
Kim illustrated The Sword and the Maiden (vol. 1 of Sword's Edge), which was written by Michael Juliar and published by Iron Horse Publishing in 1973.
Fat Cat's 2013 lamp worked glass
Golden Binocular 2013 w 20" x h 42" x h 42", glass hand built ceramic and mixed-media
Way to go Dude 2012 w 15" x d 9" x h 2" lamp worked glass and mixed media
"Gone with the Fog" by UK-based architect Leo Sooseok Kim of MEDIUS Architects recently won first place in ArchTriumph's Venice Biennale Pavilion 2013 competition this past August.
"What is the first image of Venice? Many people only imagine the floating city itself. Someone thinks of archaic buildings and canals through the city. By the way, Venice has many historical stories that is going on till now. Johann Wolfgang von Goethe saw the sea for the first time in his life at Venice. Especially, he glorified the mystic atmosphere of Venice several times in his book 'Italian Journey'.
He mentioned the fog at Venice as the medium that completes Venice itself. Have you ever felt the mood at sunset and rainy day at St. Marco Square? If you are there, you can feel everything of Venice. There are many elements, which make the mood, such as fog, small boats, and poles that fixed boats. This project began with this motive. How to reflect such elements to the pavilion? It should be gone with the fog like the being of nothing."
Name: ArchTriumph Architecture Competition 2013 – General Stage
Project: Venice Biennale Pavilion
Site: San Marco Square in Venice, Italy
Title of Project: Gone with the Fog
Site Use - Site Area (m²): Multipurpose
Building Area (m²): 1,440m²
Gross Floor Area (m²): 2,466m²
Building Coverage Ratio (%): N/A (on the Sea)
Gross Floor Ratio (%): 169%
Building Scale: N/A
Stories above Ground: 7 stories
Stories below Ground: N/A (on the Sea)
Structure: Aluminum and Stainless Steel Frame Structure
Maximum Height (m): 13m
Landscape Area: N/A (on the Sea)
Parking Lot: N/A (on the Sea)
Exterior Finish: Aluminum and Stainless Steel coated with waterproof painting
Gregory Guillaume, Chief Designer at Kia's European styling base in Frankfurt, says "[It's] an emotional and muscular car aimed at delivering pure fun and performance for today's city-based enthusiast driver. The potent shaping displays a balanced and refined outline within a compact overall shape and the tiny front and rear overhangs enhance the balance within its proportions."
Kia has taken a stab at the sport hatchback segment with its Provo Concept. Unveiled at the 2013 Geneva Motor Show, the machine features menacing styling that could give the Mini Cooper or Citroën DS3 something to sweat over.
Kia says the concept features a hybrid drivetrain comprised of a turbocharged 1.6-liter four-cylinder engine with 201 horsepower that spins the front wheels, while a 44 hp electric motor can add extra thrust to the back rollers when necessary for simulated all-wheel drive. The setup can also provide electric-only propulsion at low speeds.
Designer Juun.J titled his spring/summer 2014 menswear show “UNUNIFORM”. The concept of the collection, according to the show notes, was for the house to disintegrate “the barrier of the ‘familiar’ by breathing new life into an already told story”.
The designer attempted to do this by bringing together polar opposite ideas of dress. Say sportswear and business attire, or oversized and fitted. He even took on blurring the line between masculine and feminine dress.
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