从现在到2020年11月21日, Massimo de Carlo’s 伦敦画廊呈现个展 展览 by korean 艺术ist yeesookyung, highlighting 的rich practice she has developed over 的last two decades. 标题 I am not 的only one but many, 的exhibition presents 的artist’最著名的系列‘translated vase’,从丢弃物中创造出精致的形状 陶瓷的 fragments. 的series has its origins in a 2001 visit to one of 的modern masters of korean pottery where, upon witnessing 的potter destroying vases deemed flawed in their pursuit of perfection, yeesookyung recuperated 的broken shards and reconfigured 的fragments into bulbous and deeply personal forms. 的artist intervenes by seaming together 的fragments with epoxy delicately covered in 24-carat 金 leaf — a process akin to 的centuries-old japanese 艺术 of 金木 —从而同时创作出妖yet而脆弱的作品。

 

与她的展览相吻合 at Massimo de Carlo, 设计繁荣spoke with yeesookyung about 的preservation of traditional korean 陶瓷的s, and 的narratives she seeks to translate through forgotten fragments.

interview with korean 艺术ist yeesookyung on emphasizing flaws with 金 at Massimo de Carlo
所有摄影作品均由托德·怀特艺术摄影公司提供,由米兰/伦敦/香港的Massimo de Carlo友情提供

 

 

源梦设计(DB):您的背景和教养的哪些方面影响了您的创作原则和理念?

 

yeesookyung: 从我很小的时候起,艺术就将我的恐惧,悲伤,迷恋和幻想变成了迷人,富饶和有趣的作品— just like I covered 的裂纹, 的wound, with a valuable thing, 金. 艺术 has been expanding my own parameters and encourages me to celebrate 的vulnerability of beings. for me, 艺术 is a shrine (sacred place) to learn more about 的world, which has a full force of nature and unknown, powerful energy underneath. it also provides me with a magical vehicle to view a glimpse of transcendence that makes me want to be a different person day by day. it triggers my urge to excavate 的real world that is tangled yet metaphysically structured, which proves that everything is perfect.

interview with korean 艺术ist yeesookyung on emphasizing flaws with 金 at Massimo de Carlo

 

 

DB:您的‘translated vase’ series consists of sculptures reconstructed from discarded 陶瓷的 fragments. what has driven your interest in 的art of repair, and 的‘kintsugi’ technique?

 

yeesookyung: 短暂的一切破坏,损坏,失败或消失,让我着迷。这种弱点导致的松散通过自由地融合和连接对象而产生了新的叙述。但总而言之,我无意修复或修复这些对象。相反,我的工作可以看作是对包括我自己在内的存在的命运的弱点的荣耀。黄金是我作品中最重要的材料之一,不是用来恢复或治愈的,而是用来强调破损并在废墟中闪闪发光的物体上找到独特的美。在物体起伏的波动中,任何现象的终结都必须遵循新的开始,所以也许,我作品中的时间和空间正在另一平面上展现。特别是熟悉这种日本维修技术的日本观众会问‘kintsugi’. when I started ‘translated vase’在2000年,日本和韩国之间的文化交流不那么活跃,互联网也同样如此,所以我没有’没有有关此日本维修技术的任何信息。我之所以选择黄金,是因为在朝鲜语中,单词意义的发音‘gold’ and ‘crack’ is same as ‘geum’. it is a homonym. this is why I use 金 to fill 的裂纹s. using 的shards from broken vases was kind of a taboo in korean culture, so it resulted in an emphasis on a flaw.

interview with korean 艺术ist yeesookyung on emphasizing flaws with 金 at Massimo de Carlo

 

 

DB: what new narratives do you seek to translate through your adaptation of these fragments? are they contemporary, or do they seek to restore 的history embedded in them?

 

yeesookyung: as an 艺术ist from korea, where a lot of cultural memory is lost, I expect 的audience will find a way to connect 的missing links between past and present, following 的fragmented images.

interview with korean 艺术ist yeesookyung on emphasizing flaws with 金 at Massimo de Carlo

 

 

DB:为什么保存传统的韩国陶瓷和古代手工艺品对您个人而言很重要?

 

yeesookyung: 世界在变化。一些物种灭绝。我不愿意将自己的艺术追求奉献给保存正在消失的传统。就全球而言,我们一直在消费全球形象。在这个互联的世界中,地理边界,文化分歧甚至时间顺序都变得越来越模糊。我将发现的传统事物作为片段,以连接缺失的链接并扩展我的艺术词汇,以恰当地表达我在这个意想不到的危险世界中所经历的一切。我常常被保存的传统的奇特美感所迷住,但同时也描绘了那些寻求以传统形式为基础的艺术家的超越。的‘translated vase’该系列旨在通过追随自己的艺术追求并将自己从固定的传统中解放出来,从而将那些传统与个人艺术经​​验之间缺失的联系联系起来的人们。

interview with korean 艺术ist yeesookyung on emphasizing flaws with 金 at Massimo de Carlo

 

 

DB: where do you work on your projects, and what are 的creative strategies you adopt when working?

 

yeesookyung: I work very slowly and repetitively. I keep on working because I can never predict what a sudden idea that pops into my head will turn into. while working, 的process changes me and my beliefs. keeping 的same degree of making and thinking is crucial in my work process. 的state of calmness comes when my concentration is accompanied with 的body and 的mind working together.

interview with korean 艺术ist yeesookyung on emphasizing flaws with 金 at Massimo de Carlo

 

 

DB: what role does social or digital media play in 的communication of your work?

 

yeesookyung: 的‘translated vase’ series comprises three-dimensional works, and 的textural details are an important part of 的series. so, it could be challenging to deliver this sense through 的digital. but, 的positive aspect of 的media is 的unforeseeable and organic growth of itself, and I think this is close to my working process. also, I think in these days of 的pandemic, social and digital media helps viewers around 的world approach 的works. sometimes you could open up 的imagination wider though 的media. I expect 的way of appreciating 的artwork will evolve.

interview with korean 艺术ist yeesookyung on emphasizing flaws with 金 at Massimo de Carlo

 

 

DB:您目前对什么着迷,它如何影响您的艺术实践?

 

yeesookyung: I have had an interest in 的time and space of ancient times for a long time, in these days especially 的silk road fascinates me. having grown up in 1970’s korea, educated under 的myth of racial homogeneity and severe cultural censoring under military dictatorship, embracing fragmented identity and looking for missing cultural links to connect 的past and present has become an inevitable underlying premise of my work, regardless of my intentions. I was fascinated by a research paper which I read in 2017 written by kim hongnam. kim wrote about 石头与狮子和孔雀设计 (第八– 9th century), a large stone carving preserved at 的gyeongju national museum. she researched 的lion and peacock motifs —佛教国家新罗王朝时期的罕见主题,因为它们与早期基督教图案的联系更加紧密— and traced their vibrant cross-cultural journey into 的korean peninsula. her fortuitous discoveries helped me to understand internationalism and cultural diversity of 的ancient unified silla period. recently, such interest has spread in my works as a culturally integrated form.

interview with korean 艺术ist yeesookyung on emphasizing flaws with 金 at Massimo de Carlo

 

 

展览信息:

 

画廊: Massimo de Carlo伦敦
位置: 南奥德利街55号,伦敦W1K 2QH
日期: 从10月6日到2020年11月21日
仅通过预约开放