AMBIGUOUS WALL The Marriage of In and Out K I M B Y UN G J OO
KIM BYUNG JOO S o l o
E x h i b i t i o n
27 November 2015 - 8 January 2016 Gallery HUUE 188 Bukit Timah Road, Singapore 229856
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KIM BYUNG JOO
Ambiguous Wall The Marriage of In and Out
Kim byung joo Solo Exhibition 27 November 2015 - 8 January 2016 Gallery HUUE Singapore
Kim Byung Joo, a Young Artist Under the Spotlight for his Architectural Sculpture Kim is deeply interested in the sculptural expression of architecture, constructed from overlapping external and internal elements of the space. His first solo exhibition in Singapore is a result of the support and attention from many collectors based in Singapore, who took note of the artist’s style displayed in several group exhibitions and art fairs. Korea is growing a fertile art market gathering interest from art lovers from around the world. Singapore, which is going through a phase of rapid cultural development, has been a host to government-sponsored art events of various sizes. The country is allowing a diverse range of routes including art museums, galleries, art fairs, and online platforms to introduce young Singaporean and foreign artists. Korean contemporary art is unique in the world art trend in that it contains Korean sentiments and images within the basin of expressive styles found in Western contemporary art. Such characteristic fetched Korean contemporary art the assessment that it possesses both global and universal character on the side of local features. Individual characteristics of each Korean artist especially stand out, with their distinctive creativity expressed through extremely diverse techniques and categories. Kim’s sculptures were first introduced through group exhibitions and art fairs put together by Gallery Huue (formerly Art On Gallery) in 2013; the artist’s contemporary sensibility and transcending originality put him under the spotlight. In Singapore, Kim Byung Joo’s works were purchased by multinational collectors of varying ages who live in Singapore. Architects and interior designers were especially enamored with the materials used in his works. We expect this exhibition to attract the attention of Asian art collectors.
Stair 01, 02 Steel, Urethane paint, Acrylic board 80 x 80 x15cm 2015
I Director’s Note I
The Marriage of In and Out The combination of structures that make up the internal and external spaces that seemingly cannot coexist, and the combination of the shadows that reflect the shape of the spaces are the characteristic of Kim Byung Joo’s architectural sculptures. The artist faithfully narrates his subject using all possibilities and technicalities that sculptural techniques display thereby giving realism and abstractness to his works at the same time. At a glance, Kim’s works seem to have directly borrowed from the architectural forms our eyes are so used to, but a scrutinizing look reveals paradoxical combinations of structures that appear to ambiguously suggest new spaces, but actually has systematic configuration within. Titles such as <Familiar Scene> and <Ambiguous Wall> typically represent the sculptor’s works with such characteristics. Kim Byung Joo’s initial works began from the artist’s curiosity about closed spaces; infinitely numerous iron structures are welded to create grids which generate planes, which in turn make up invisible spaces that can be peered into from the netted formations in the grid. In all, these early works were closer to minimalistic architectural structures that focused on the void spaces. The sculptor has been focusing more on relief sculpture since his solo exhibition in 2013, in which he takes laser-cut architectural structures and reconstruct them on a unicolor boards to generate a harmonious and multi-dimensional architectural forms and spaces. His focus is on the spaces created by overlapping ambiguous lines without the distinction between the interior and the exterior. Kim continues to deal with spatial concepts with new perspectives; recently, he uses different colors for different layers to maximize the harmony of structures put together in a complex and fitting manner. This is not done in an impromptu fashion, either. The artist uses a computer program in the early stages to plan for colors and other basic matters, in an attempt to warm up for the main game. As the exposed form with a quiet existence combines with the hidden beauty to create an order of harmony and cadence that blooms, this process of change is born under a strict planning and strategizing by the creator, rather than instant intuition. If the development of mass consumer culture was inevitable since the advent of the Industrial Revolution, the repetition through duplication was another exit for the artists who were looking for a new form of expression. Aestheticians also published artistic theories of such era of mechanic circulation to legitimize such attempts by the artists. At the time, Walter Benjamin (a German philosopher, 1892-1940) understood “mass duplication” as a new way of exploring the origin of artistic works. Under this background, artists strategically utilized the artistic values of duplication and repetition, a typical example of which are pop art and minimalism. In the time to come, such duplicity and repetitiveness gradually came to be expressed in the overall society as well, and an example of such manifestation is architecture. Kim Byung Joo forms architectural images by arranging repeated lines or duplicating structures with the same form multiple times. Going further, he also uses duplication to maximize the visual elaboration and overlaps. Such process of re-production facilitates the handling of concepts about space from a new perspective. While it is easy to show objects, it is difficult to hold the attention of the audience. The attention of viewers who first come across Kim Byung Joo’s <Ambiguous Wall> is busily focused on observing layers and layers of structures. The audience is left astonished by the external reality of the physical space and fascinated by the meditative space generated by the introspection of the viewership. What drew the audience to Kim Byung Joo in this era of superfluous supply of contemporary arts? It is perhaps that although his works are not guised under rather difficult and complicated stories, they possess a power to hold and capture the attention through a certain familiarity generated by the expressions through familiar materials. Even though the viewers may not attempt to engage the works in a complicated manner nor understand the depth of the work, they have plenty to appreciate from the visual attraction these works bring.
Crystal Cho creative director, Gallery Huue
Ambiguous wall FE 01-08 Steel, Powder coating,Urethane paint, Acrylic board 50 x 50 x 7cm 2015
Ambiguous wall - doors 03,04 Steel, Urethane paint, Acrylic board 65 x 80 x 9cm 2015
Ambiguous wall-Facade#3 09,10 Steel, Urethane paint, Acrylic board 90 x 90 x12cm 2015
What is in a closed space, behind the lockers, closed doors, and walls? We become curious once in a while. That is how my work of revealing space began and interest in the border of spaces developed. The works are focused on the objects such as buildings, that do not have the feature of â€œnot revealed.â€? When buildings are built, walls are formed to generate spaces. While these walls are not transparent like glass, the viewers can look into the space behind them. The walls, however, cannot create a distinction between the indoors and the outdoors, working as an ambiguous borderline. These other spaces created by such ambiguous walls, not distinguished into the indoors and the outdoors, clash and overlap with each other to obscure the inner structure of the building. On such walls, light is shed to create shadows of the spaces. When the shadows are cast on other buildings, the dark silhouettes of other buildings mix in to create another new space. As the blueprint drawn on a sheet of graph paper contains the immense and complex spaces of a high-rise building, all the spaces within the exhibition hall are rid of borders, concentrated into shadows, and are cast on the walls as shadows. Kim, byung Joo
Ambiguous wall - Facade 11,17 Steel, Urethane paint, Acrylic board 80 x 80 x12cm 2015
Ambiguous wall-Facade#2 06,04,05 Steel, Urethane paint, Acrylic board 80 x 90 x13cm 2015
Ambiguous wall-Facade#2 04 Steel, Urethane paint, Acrylic board 80 x 90 x13cm 2015
Ambiguous wall Steel, Urethane paint, Acrylic board 51x60x9cm 2015
Paradox of Spaces
Soyeon An | Art Review
Maximized perspectives and exposure of invisible internal structures are very effective strategies that can visualize the
tiple viewpoints penetrate the second dimension and threaten the actual space of the third dimension. The vertical and
three-dimensional characteristic of a space. Naum Gabo, a Russian Constructivist sculptor during the 20th century,
horizontal lines that are situated between what we see and what we experience cross the “ambiguous” boundary that Kim
devised the ‘stereometric method’ in order to take a more realistic approach to internal spaces composed by the sur-
mentions. Rather than sensing the physical depth of the relief that seems to protrude into the actual space, he is more
faces of a hexahedron; and he was confident that this was the structural index of “invisible,” “empty” space. Accordingly,
similar to past avant garde artists that attempted to overcome visual limitations of two-dimensional illusions composed
the deductive spaces that are exposed by lines that cross from point to point on a hexahedron emphasize the visual
of excessive perspective and clairvoyance.
intervention of the invisible. Using a slightly different method, Rodin took a multi-view approach in grasping the object placed in a three-dimensional space. “The Three Shades” that constitute “The Gates of Hell” serve as an example of this method. As if to convey a line of vision, the identical poses of the three figures allude to multi-viewpoints (front and both sides) of one figure. Thus, it is already well known that perspectives, perspective drawings, and multi-viewpoints have traditionally been very useful strategies for examining the visual and perceptual systems of objects and spaces. Here, similar to Gabo’s completely transparent hexahedron, multiple lines compose the ambiguous contour of the empty space left after removing the building’s outer walls. | Nonexistent Visible Space. Existent Invisible Space. As the title suggests, “Ambiguous Wall” (2014), a relief series, induces the audience to have an “ambiguous” visual experience. Kim, primarily, has continued projects in which he uses a computer program to design hypothetical perspective drawings that take very practical and universal architectural styles of modern cities into account and reproduces the drawings into three-dimensional forms. During this process, any architectural shapes occupy each of the vertices that correspond to the two-dimensional surfaces; and once he enters the numerical values of the depth of the spaces inside the completed lines that connect the dots, he finally acquires a three-dimensional space. The hypothetical perspective drawing created through this process becomes the actual blueprint used to produce the “Ambiguous Wall,” and, with that in mind, the artist reconstructs each of the laser-cut walls. The architectural models that seem, at a glance, to be facing two vanishing points from the center of the screen appear to be scientifically conveying a three-dimensional space due to rapid perspectives. Furthermore, because the other walls, which divide the space by intersecting each other, compose quite a deep level inside the relief-form structure, the audience is able to accept that as actual space without any suspicion. However, if you take a thorough look at the three sides that construct the building’s outermost shape, you will discover some of the visual tricks disguised in the construct. Let’s look at the central panel that is facing the front. The numerical value of the depth of space that stretches from the stairs to the entrance on the blueprint and that in actual space is equivalent; however, in the actual space, this depth is just an illusion created by applying a simple perspective method. Once you discover that the deep sense of space applied to a two-dimensional flat surface is, also in actual space, only a three-dimensional illusion inscribed into a two-dimensional surface, you become captivated by the visual and perceptual confusion regarding your awareness of constructs. That’s not all. The gap in viewpoints applied differently to the building’s outer walls disrupts the singular totality of that form. It is clear at a glance that there exists a discord between the viewpoint applied to the entrance from the central panel and the viewpoint from the second floor window. Kim makes the “Ambiguous Wall,” which crosses between second and third dimensions and between single and multiple viewpoints, possible by using this method. Excessive clairvoyance and perspective cleverly twist the visual and perceptual experience and authenticity of spaces. The three-dimensional characteristic of the space that Kim designed using perspective and perspective drawing awakens some important events in the history of art. Besides the aforementioned methods of Gabo and Rodin used to visualize three-dimensional spaces, Cezanne’s revolutionary vision offers an important reference point. Cezanne, believing that he could newly construct the contours of a subject using disagreeing viewpoints, experimented with multiple viewpoints.
In this way, the spaces that Kim reveals in his “Ambiguous Wall” series is very paradoxical. His work induces an ambiguous visual experience that doesn’t completely mix nor completely separate the two-dimensional illusion and the threedimensional space. Although a part of the same series, this project, titled “Ambiguous Wall,” reveals a more complex spatial composition than that presented earlier by creating a symmetry using identical constructs on both sides. The artist’s imagination regarding the visually concealed spaces that result at points where buildings as well as constructs overlap portrays a disintegrated space that can no longer be perceived logically. Thus, everything, including what is real and what is an illusion and where in that space we place our line of vision, is uncertain. | Empty Space. A Familiar Scene Formed Inside That Space. The visual experience that he underwent among the thicket of skyscrapers served as an inspiration for his new work. Along with sophisticated buildings with outer walls made of glass or mirrors that have been erected in various areas within cities since long ago, urban spaces illustrate a mise-en-scene in which actual spaces and illusions are mixed up just as in Kim’s “Ambiguous Wall”. Architectural structures that, in actual space, cannot possibly coexist in a point of view outside one’s vision appear in various places as fragmented images that interfere with the continuous and overall contour of the actual building. Depending on the point of view, these illusions that appear and disappear on the building’s outer walls and disturb the physical boundary of the actual space further intensify the concept of space that we have been familiar with. These images, which do not follow the form’s outline, that are projected on the building’s outer walls like broken puzzle pieces are invisible spaces (landscape out of view) visualized in an empty space (building’s outer walls), and they convey the paradox of spaces that Kim has been emphasizing until now. For example, in his architectural relief, “Ambiguous Wall”, Kim defies everyone’s expectations and portrays a two-dimensional visual illusion on the contour of the surface that occupies the actual space; by doing so, he examines the (in)visibility of space. Meanwhile, in “Urbanscape,” which visualizes urban landscape, even more intricately superimposed structures intrude into each others’ contours and also conceal themselves; and all the shapes eventually disappear toward the vanishing point. This is a kind of spatial illusion that appears and disappears depending on the audience’s point of view. In a way, due to similar reasons, Kim was fascinated by the spectacular theatrical effects of shadows that were created inside the exhibition space by outlines of the forms during the initial phase of his work. In that sense, “Familiar Scene” is intriguing. Applying the perspective drawing method, Kim has been persistently dealing with invisible internal spaces and overlapped spatial volumes using intrinsic logic of construction regarding forms and spaces. By discovering the nonexistent “ambiguous wall” from the very “familiar scene” created by actual urban space, Kim seems to have confirmed the paradox of an empty space that is rather filled with generated images. Moreover, he has recognized the sensory experience that involves the building’s outer walls that are so empty that you can’t discern its depth and scenes in which reality and illusion are mixed up instead of physically overlapped. As reality and illusion cross over without boundaries, the spectacular landscapes of cities reject the singular dimension and viewpoint of spaces.
This is similar to the dual behavior that Kim adopts when dealing with spaces. In short, just as Cezanne recovered the
The artist’s unconditional fixation on space itself reveals the paradoxical attitude that shows his confirmation of the “un-
visual depth of paintings through multiple viewpoints, it is a paradox that Kim was able to further maximize the depth of
certainty” of spaces. Kim has been immersed in spaces for a long time and has continuously challenged the visual con-
space using ambiguous viewpoints that arose as a result of excessive perspectives and distorted clairvoyance. Looking
ventions that directly intervene in that space. From this exhibition, Kim begins to recognize the visual potential that is
at another “Ambiguous Wall,” a sequence of a total of eight identical structures, sudden perspectives and differing mul-
dormant within empty spaces and expands spaces by disassembling, controlling and, sometimes, mediating them.
Ambiguous wall - Complex 04,05,06 Urethane paint, Acrylic board 90x130x15cm 2015
Ambiguous wall - Complex 05,06 Urethane paint, Acrylic board 90x130x15cm 2015
Ambiguous wall Steel, Urethane paint, Acrylic board 80 x 80 x12cm 2015 (purple, blue)
Familiar scene - macau Steel, Urethane paint, Acrylic board 120 x120 x100cm 2015
Familiar scene - macau Steel, Urethane paint, Acrylic board 120 x120 x100cm 2015
Kim byungjoo 김병주 1979 Born in Seoul, Korea Education B.F.A. Department of sculpture, Hongik University, Seoul, Korea M.F.A. Department of sculpture, Hongik University, Seoul, Korea Solo Exhibitions 2015 Ambiguous Wall, Gallery Huue, Singapore 2014 Familiar scene, PYO gallery, Seoul, Korea 2013 BYUNGJOO KIM, Coohaus art, New York, USA 2013 From the spot, TV12 Gallery, Seoul, Korea 2012 Twofold Line, Salon de H, Seoul, Korea 2010 Enumerated Void, Noam gallery, Seoul, Korea 2009 Ambiguous wall, Kunstraum, Seoul, Korea
Group Exhibitions 2015 2GIL, 2Gil29 gallery, Seoul, Korea 2015 The trace of line, Choi Jung Ah gallery, Seoul, Korea 2015 Touching moments in Macau Through Artists - Perspective, Ganainsa Art Center, Seoul, Korea 2015 Home Scape, LOTTE Gallery, Korea 2015 The good life, Seum artspace, Seoul, Korea 2014 ART MIAMI contaxt 2014 Affordable art fair Singapore 2014 SOLIPSISMOS, ETHRA Gallery, Mexico City, Mexico 2014 ARTNOVA 100, SZ ART Center, Beijing, China 2014 Occpy Jungmiso, Art space JUNGMISO. Seoul, Korea 2014 Draw a space, S+ gallery, Busan, Korea 2014 INTRO, National Museum of Modern and Contemporary Art, Seoul, Korea 2014 Unexpected moment, Vogoze gallery, Seoul, Korea 2014 Space : Life&Routine, Choi Jung Ah gallery, Seoul, Korea 2014 LINE-drawing, Wumin art center, Cheongju, Korea 2014 2014 Young Revolution, Ion Art gallery, Singapore 2014 Double Logic, Space K, Gwangju, Korea 2013 Near and Dear objects, Art On, Singapore 2013 KOREAN ART SHOW 2013, Houston art fair 2013 Variations on Canon, Coohaus art, New York, USA 2013 Four Multiplicities, Emoa space, New York, USA 2013 BIRTH, Yangpyeong art museum, Seoul, Korea 2013 2013 Pyo project, Pyo Gallery south, Seoul, Korea 2013 SPACE-SCAPE, Lotte Gallery, Ilsan, Korea 2012 Artistic Period, Gallery Iteralia, Seoul, Korea 2012 Counterattack Of Mimesis, Adamas 253 Gallery, Paju, Korea 2012 Un lieu de la memoire, BJN Gallery, Seoul, Korea 2012 Untitled 2, Choi jung ah Gallery, Seoul, Korea 2012 The blue wind, Gallery Jinsun, Seoul, Korea 2012 The art of display, Eugean Gallery, Seoul, Korea 2011 ART EDITION - SETEC, Seoul, Korea 2011 Become we, Next door Gallery, Seoul, Korea 2011 On, Plan, Make - TV12 Gallery, Seoul, Korea 2011 多重感覺, SAVINA museum of contemporary art, Seoul, Korea 2011 Charade, Leeahn Gallery, Deagu, Korea 2010 Meditation of Technology - Alchemy of steel, Pohang Museum of steel Art, Pohang, Korea 2010 DOORS ART FAIR 2010, Imperial palace Hotel, Seoul, Korea 2010 Off the map, Gallery 4walls, Seoul, Korea 2010 Free Style : A Dialogue Between Art and Design, Hongik museum of art, Seoul, Korea 2009 Nanji Relay Exhibition, Seoul national museum Nanji Gallery, Seoul, Korea 2009 Taehwa River Eco Art Festival 2009, Breathing out, Ulsan, Korea 2008 Wise Answer about foolish Question, Kunst Doc Gallery, Seoul, Korea 2008 Hongje stream project, Seoul, Korea 2007 POSCO Steel Art Award, Posco Gallery - Seoul, Korea 2007 10piston caliper, Soop Gallery, Seoul, Korea 2006 Bohemian spaceⅡ, Arko Art Center, Seoul, Korea 2005 Artist network program, Team Preview, Seoul, Korea Awards and Residency 2014 Goyang Residency 10th Artist, National Museum and Contemporary Art, Korea 2009 [NArT 2009] New Artist Trend, Seoul Foundation for Art & Culture 2008-2009 Nanji Art Studio 3rd Artist, Seoul Museum of Art, Seoul, Korea 2008 Art Council Korea 2007 POSCO Steel Art Award Collection National Museum of Modern and Contemporary Art, Korea Seoul Museum of Art Pohang Museum of steel Art Imperial palace Hotel The Federation of Korean Industries Lotte Hotel
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