User inserted image

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

User inserted image

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

User inserted image

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

User inserted image

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.

User inserted image

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

User inserted image

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

User inserted image

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

User inserted image

Dance - Lunar-side Up, 2014

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

User inserted image

Tower on String - Facing New York, 2012

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

User inserted image

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

User inserted image

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

User inserted image

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

User inserted image

Cactus No.61 2011 Oil on canvas 100x100 cm

User inserted image

Untitled 5095, 2016 Oil on canvas

User inserted image

Cactus No.51 2010 Oil on Canvas 194x200 cm

User inserted image

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

User inserted image

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

User inserted image

Cactus No.96, 2015 Oil on canvas

User inserted image

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

User inserted image

Cactus No.59 2011 Oil on canvas 259.1x170 cm

User inserted image

Cactus No.81, 2013 Oil on canvas

User inserted image

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.

User inserted image

Rorschach, 2017

User inserted image

Self Portrait, 2014

User inserted image

Self portrait, 2015 72.7 x 90.9 cm, oil on canvas

User inserted image

Portrait 2015

User inserted image

Portraits, 2016 53.0 x 45.5 cm, oil on canvas

User inserted image

Dancing Death, 2014 162.2 x 130.3 cm, oil on canvas

User inserted image

Portrait, 2015 - collaboration with 'Bowl'

User inserted image

Portrait 2015

User inserted image

Anthrophobia, 2016 130.3 x 162.2 cm, oil on canvas

User inserted image

Organ series, 2012

Although it is universal that the subject of the human body comes to be an attractive object to many artists, many people feel rejection to the expression of bones and organs inside the human body. It is unfamiliar, but if it is a story in a material other than spirit, it feels more authentic in the shape of the bone that has been wiped out.

It draws bones but it does not necessarily convey death or Memento Mori. Even when bringing motives from dancing deaths. If I want to convey something through these materials, it is a sense of familiarity and affinity, not fear or lessons. Although it comes to the strange now, everyone who draws or appreciates has it all under the skin. The outside can give an impression to the viewer as intended, but the bones are not. I am relieved there.

Dabin Lee







ⓒ copyrights 2003-2018 Designersparty, all rights reserved. all material published remains the exclusive copyright of Designersparty.