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  • 2018 1st AUO Artist
  • Kang Eunhye
  • Hongik University, Fiber Art, 2nd semester
  • Kang Eunhye is a Seoul and New York-based installation artist born in Seoul, South Korea. She graduated with a MFA from Cranbrook Academy of Art. Kang received her BFA from Maryland Institute College of Art (MICA). Kang creates large-scale geometric installations in architectural spaces. She participated in her first solo exhibition in NYC in 2014 and over 40 group exhibitions in Seoul, South Korea / Sofia, Bulgaria / Philadelphia, New York, Washington D.C., Los Angeles, New Jersey, Colorado, Maryland, and Michigan in the U.S. Recently, she is studying Ph.D in Fiber Art at Hong-ik University graduate School. She is scheduled to move to Residency in Gyeonggi Creation Center from upcoming March.
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Line installation by EunHye Kang

3D (Sculpture, Installa..

  • 2014
  • Cotton yarn
  • 2017
  • Cotton yarn
  • 2017
  • Cotton yarn
  • 2017
  • Cotton yarn
  • 2015
  • Sumi-ink Drawing on Rice paper
  • 2016
  • Cotton yarn
  • 2017
  • Cotton yarn
  • 2017
  • Cotton yarn
  • 2012
  • Cotton yarn
  • 2013
  • Cotton yarn
  • 2014
  • Cotton yarn
  • 2014
  • Cotton yarn

ARTIST'S STATEMENT

My installation work usually begins with the inspiration of a space. It leads to systematic research on the concept of space from an aesthetic perspective and visual, auditory, or synesthetic effects derived from an intervention of geometric elements (for example, a line) into that space. In my working method, I compose and realize an abstract image within an empty space. The lines that intersect and overlap one another grant a sense of volume, gravity, density, and movement to the image. The lines also create numerous planes and virtual dimensions, beguiling the eyes of the audience.

Connecting a line. Drawing a line. Hanging a line in space.

In conjunction with my installation work, I recently started creating two-dimensional work that is based upon my spatial inspirations. All of my work including installation, two-dimensional, and three-dimensional pieces are fundamentally connected to line, the geometrical formative language. The basics of every form around us is a straight line. I imagine invisible things hidden in a space and simplify the inspiration and images that I receive from that space, constructing an image that consists of vertical and horizontal lines. I express visual inferences I draw in the process in the form of installation, drawing, and collage, applying recurring mathematical principles into the work. By these lines, a space is divided, and each space constructs an independent identity and diversity at the same time.

The lines that move from a dot to a dot represent time-based and spatial movement, and at a certain point a change in direction, heading towards the past or the future. As we express places in a journey as a dot and the route between them as a line, to me, a line is construed as an active sign that conveys a movement and a flow unlike a dot or a plane standing still. Each dot symbolizes individuals, and the lines connected between them embody a relationship and a communication. There are loose or tight tensions, and sometimes the exceeding tensions break the lines, which represents a relationship in our society.

installing the strings that endlessly repeat in space, with one hand holding the tension of the string, walking back and forth through the same space sometimes hundreds or thousands of times, there are moments of meditation akin to spiritual practice. Ironically, I find peace of mind from the ceaselessly repeating actions. And I bring that sense of meditation into a two-dimensional surface, and repeatedly drew lines, composing a plane. The result is the drawing series titled Meditation. The plane being filled up with each act of the drawing of a line is filling and at the same time emptying. As the act is filling up the space, the mind and spirit are becoming empty.

My recent solo exhibition Abstraction from the Line of Hangul consists of the newly created abstract ink paintings titled Study of Line Series (2016). As in Mondrian’s geometric abstraction that emphasized a geometrical order, I restrained as much emotion as possible and expressed images from the viewpoint of the East with combinations and arrangement of lines in proportion. In this series of work, I will continue to develop the abstract ink painting of the East, which is expressed through the lines of ink, from a modern perspective. Restrained lines in ink and the vastly empty space between them will allow the viewers to have moments of contemplation. In my work, the lines become my own code to which the rule of giving meaning can be applied, crossing the boundaries between space and a two-dimensional surface. I would like to continue creating work that could express with originality the conceptual beauty granted by a line—the abstract and geometric element under a new light.


EunHye Kang
www.eunhyekang.com
artist.eunhyekang@gmail.com

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Work List
12.EunHyeKang_Full or Empty No.02_Cotton yarn_360x300x250(cm)_2014
11.EunHyeKang_Passage_Cotton-yarn_Site-specific-installation_2017
10.EunHyeKang_Passage_Cotton-yarn_Site-specific-installation_2017
09.EunHyeKang_Full-or-Empty-No.07-_Cotton-yarn_Site-specific-installation_2017
08.EunHyeKang_Meditation No.01,02,03,04_Sumi-ink Drawing on Rice Paper_113.5x213(cm) each_2015
07.EunHyeKang_Full or Empty No.05_Cotton yarn_400x90x90(cm)_2016
06.EunHyeKang_Hidden Space_Cotton yarn_Site-specific installation_2017
05.EunHyeKang_Full or Empty No.06 _Cotton yarn_Site-specific installation_2017
04.EunHyeKang_within and without_Cotton Yarn_380x255x305(cm)_2012
03.EunHyeKang_Spatial Space_Cotton Yarn_380x635x5335(cm)_2013
02.EunHyeKang_Full or Empty No.01_Cotton yarn_360x200x40(cm)_2014
01.EunHyeKang_Infinito_Cotton yarn_Site-Specific installation_2014


국문보기
Advice
Yi Soojung, Curator
Site-specific한 설치 작품으로 공간에 대한 세심한 관찰을 기반으로 하여, 점에서 선, 선에서 공간으로 이어지는 설치 작품으로서 흠 없이 완성되었다. 시각적으로도 조화롭고, 평면회화(2015)와 공간 설치가 개념적으로도 잘 연결된다. 특히 2013년 폐건물에서 설치한 작품은 화이트 큐브에서의 설치 작품에 비해 더욱 극적인 효과를 냈다. 관객이 그 공간 사이를 걸어다니면서 공간을 깊이 있게 경험하기에도 적절한 연출이다.

다만 문제점이 없어보인다고 해서 매력적이라는 뜻은 아니기 때문에 이 부분에 대해서는 앞으로 고민이 필요할 것 같다. 예술에서는 문제되는 지점이 없는 것만큼이나, 독창적인 매력이나 의미를 지닐 필요가 있다. 조화와 균형은 예술에서 오래 중시되어온 중요한 가치이지만, 작품이 관람자의 시각에, 시각을 넘어 감정에 가 닿기 위해서는 작가만의 이야기가 필요할 것이다.

유사한 작업을 한 다른 작가들이 연상된다는 점에서 강은혜 작가만의 독창성을 주장하기 어렵다는 점이 아쉽다. 사실 역사성을 가진 다양한 공간에 맞게 무한히 작품을 반복할 수 있을 듯한데, 오히려 장소의 무게나 서사성에 기대지 않는 것이 차별화할 수 있는 길이 될 것으로 생각된다. 어려운 선이라는 조형 요소에 집중하되, 청각이나 후각 등 다른 감각과 결합된 방향으로 작품을 확장시켜 나가도 좋을 듯하다.

AUO translator

The artwork is a site-specific installation based on careful observation of the space, and executed spotlessly as an installation work continued from a dot to a line and to a space. It is visually harmonious and conceptually well connects 2D paintings and space installation. Especially the work installed on abandoned building site in 2013 has more dramatic effects compared to the installation in white cube space. It is a proper interpretation for audiences to experience the space in depth by walking around the space.

Just because there’s no problem it doesn’t mean the work is attractive, so this is something to think about. In art, it is necessary to possess unique charm or meaning, as much as having no point of issue. Harmony and balance are value that has been holding importance for a long time, but an artist’s own story is needed to get through to audiences’ emotion beyond their eyes.

It is a little shame that it’s hard to say the creativity of the artist Kang Eunhye for the work is associated with other artists’ similar works. It seems possible to endlessly repeat making artwork to fit various spaces with historicity, however I think a way to differentiate is rather not depending on the narration or the weight of the space. Focusing on a difficult formative element, line, and taking a direction of combining it with different senses like hearing and smell will be a good way to expand the artwork.

2018-05-31 13:16:53

Lee Yongbaek, Artist
내용이나 형식적 완성도면에서 멘토링할 여지가 없는 작품이다.
때로는 이미 완결지어진 아이디어에 작품에 멘토링은 무의미하다.
문제는 바로 완결성때문이다.
작품을 감상하면 할수록 작품속으로 들어가기 보다는
기존의 다른 작가들의 아이디어와 형식이 필터처럼 끼어 들어 오는 이유는 무엇때문일까?
공간에따른 형식적 변화만 느껴지는것은 무엇 때문일까?
문제는 앞으로도 당분간 변화의 조짐이 보이지 않는데 있다.
어떠한 내면적 갈등과 고민이 있을때 멘토로서 삶에 부분적으로 조언이 가능 하리라 생각된다.

AUO translator

From the aspect of formative execution and contents there is nothing to mentor in this work. Sometimes mentoring is meaningless to the idea or artwork that has already completed.
It is because of completion.
As I appreciate the work more and more, what is the reason the ideas and forms of the existing artists are cutting in like filters rather than I sink into the work?
What is the reason I only feel the formative changes by spaces?
I think the problem is in that there is no sign of transition for some time in the future.
I can give an advice as a mentor about life in partial when the artist is experiencing some kind of inner conflict and troubles.

2018-03-20 14:11:54

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