• 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.

passing by

3D (Sculpture, Installa..

  • 2018
  • Cotton yarn
  • 2018
  • Cotton yarn
  • 2018
  • Cotton yarn
  • 2018
  • Cotton yarn


EunHye Kang Solo Exhibition

Cotton yarn, Site-specific installation, 2018
@Youngeun Museum of Contemporary Art, Gwangju-si, Gyeonggi-do
2018.3.10 - 4.1

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.
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.
I restrained as much emotion as possible and expressed images with combinations and arrangement of lines in proportion. . 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 have mainly used the threads as a material for representing lines in the installation work because I want to focus on visual elements. There has always been a thirst for research and attempt to install string materials that can lead to co-sensory stimulation in the mind. For the first time, I tried to install a string using guitar strings, creating "sound" in the space, and giving the string (guitar string) another energy through various methods such as dyeing, bleaching and coating, I would like to work on a step by step by combining the "auditory" sense concept. This is the time when I need to research and study about the materials for my next step.

installation video link :

Yi Soojung, Curator
이번 작품인 passing by 는 첫 번째 멘토링 작품과 외견상, 또 기법상 큰 차이가 보이지는 않는 작품이다. 큰 공간에 실을 연결하여 선을 만들고, 여러 선들이 모여서 공간을 만든다. 미니멀한 화이트 큐브에 검은 실로 채워진 공간은 명쾌하고 단아하다. 실제 전시실에서 이 작품을 보았다고 상상하여도 불편하거나 시각을 거스를 만한 요소는 없을 듯하다. 다만, 이 매끄러움이 여전히 불편하다. 오히려 이번 작품에서 인상 깊게 본 지점은 작품 설치과정을 촬영한 영상이다. 타임랩스로 빠르게 진행되는 이 영상은 실제로는 긴 시간 동안 작가가 이 벽과 저 벽을 오가면서 촬영한 것이다. 이 영상에서 눈에 띈 것은 전시 공간을 동서남북은 물론이고, 위아래로 이동하는 작가의 모습이다. 마치 공간에서 자신의 몸으로 드로잉 하듯 움직이는 모습이 퍼포먼스의 한 장면과 같았다. 우리가 공간을 점유하고, 체험할 때 우리는 대부분 공간 내부에서 국한된 부분을 실질적으로 점유하고 사용하는데, 영상 속의 작가는 자유롭게 움직이는 분자처럼 주어진 공간의 상하좌우를 적극적으로 경험한다. 시각으로 좇아가보았지만, 보는 이의 몸도 함께 공간을 탐험하게 된다. 어쩌면 긴 시간과 작가의 움직임을 완벽하게 지우고 숨긴 ‘우미’의 공간 대신 이면을 보이는 것이 더 흥미로워질 지도 모르겠다는 생각이 든다.

AUO translator

is an artwork that has not a huge difference in appearance and technique from the first work. Strings are connected in a large space to make lines and these lines come to make a space. A minimal white cube space filled with black strings is clear and elegant. Even when I imagine being in the space and appreciating the work, there seems no element that feels discomfort or goes against the perspective. However, this sleekness is still uncomfortable. The point where I was impressed in this work is rather a video recording the process of the artwork installation. This video runs fast with time laps is a recorded by the artist for a long time by going back and forth between walls. A thing that popped into my eye is the artist moving up and down and in all directions. The way she is moving like she is drawing on the space with her body seemed to me as a scene from a performance. When we take a space and experience mostly we only actually take a limited part of the space and use it. The artist in the video however, aggressively experience the right and left, up and down of the given space like a free-moving atom. By following it with eyes audiences’ body also explore the space. Perhaps I find it more interesting to see the other side instead of the space of ‘umi’ where the artist has perfectly erased and hidden the long time and her movement.

2018-06-18 11:54:40

Lee Yongbaek, Artist
I think it is a good idea to use guitar strings in a simple space work.
I think the resonance and wavelength of guitar strings will fill the space and expand it. The history of string instrument even occurs.
Many different materials like intestinal skins of lamb, leather, hair, springs has been used for strings in music instruments. It is same for a sound box. Same strings have different feeling of sound field and pitch depending on the length of the strings.
A sound box becomes a space, and the space should already have some sort of history.
Try to find such space. It will make the context much fuller and bring an opportunity to step up a grade at the same time.

Expression in neutral space always is limited. In many cases, it ends up like a sculptural play or game. I suggest you to find a place where you can use its reference in your artwork exhibition. A plain exhibition space is not fun.

단순한 공간작업에서 기타 줄을 이용한 것은 좋은 아이디어라고 생각합니다. 
기타 줄의 울림과 파장이 공간을 메우고 확장할 수 있을 것이라 생각됩니다. 현악기의 역사도 떠오릅니다.
악기의 줄은 양의 내장조직부터 가죽, 털, 스프링 등 다양한 재료가 사용 되어 왔습니다.
울림통 역시 다양합니다. 같은 줄도 길이에 따라 음장감과 높낮이가 표현 됩니다.
울림통이 공간이 되고 그 공간이 이미 역사를 가지고 있어야 합니다. 
그런 공간을 찾아보세요. 내용이 훨씬 풍성해지는 동시에 한 단계 발전하는 계기를 자연스럽게 가질 수 있다고 생각합니다.
중성적 공간에서의 표현은 언제나 한계가 있습니다. 조형놀이로 끝나는 경우가 허다합니다.
작품이 전시되는 공간의 레퍼런스를 이용할 수 있는 공간을 찾아 보시기 바랍니다.
전시장은 재미 없어요.
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