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  • 2018 1st AUO Artist
  • Lee Kiwon
  • Chungang Univ, Sculpture, 5th semester
  • Lee Kiwon is attending BFA course of Chung-Ang University. He keeps trying to make a device that produces something artistic. He is currently focusing on a meta approach to Traditional Formalist Art forms of Painting and Sculpture. He uses cinematic grammar scenarios to produce his works. He seems to have overall stress on controlled, categorized, repressed and refined art forms.
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KIRUYA

3D (Sculpture, Installa..

  • 2018
  • 00:08:48 1920*1080
  • 2018
  • Acrylic, Urethane
  • 15 * 5 * 8 (cm)
  • 2018
  • Silicone, Paper
  • 25 * 7 * 7 (cm)
  • 2018
  • Acrylic, Urethane, Putty, Latex
  • 13 * 25 * 25 (cm)
  • 2018
  • Acrylic, Urethane, Putty, Latex
  • 24 * 4 * 11 (cm)
  • 2018
  • Acrylic, Urethane, Putty, Latex
  • 82 * 7 * 7 (cm)
  • 2018
  • Acrylic, Urethane, Putty, Latex
  • 34 * 6 * 7 (cm)
  • 2018
  • Acrylic, Urethane, Putty, Latex, Paper, Stone
  • 45 * 17 (cm)
  • 2018
  • Shark Leather, Bronze
  • 21 * 25 * 27 (cm)
  • Tattooist Lamad
  • cover_image

ARTIST'S STATEMENT

I discovered new deep sea fishes in the deep sea at about 10000m depth. I felt the charm and homogeneity of the deep sea environment and deep sea fish, and open a Japanese restaurant called "Kiruya" in the deep sea. Restaurants are open three days a week and I prepare the ingredients during the off week. The main menu of the restaurant is deep sea fish sashimi, and I collect the deep sea fish that live around me and make up the ingredients.

Although this absurd narrative is obviously a fiction, It is a metaphor for my environment. I feel a sense of homogeneity when I look at the stomachs and chin of the fish that were grown so large for survival in the harsh environment
I don't think the deep sea fish guest who came to this Japanese restaurant is any different from his situation.
I identified him with myself and with deep sea fish. And I treated him a deep sea fish food (Mukozuke). But the guest must wear the mask I provide.
He is not allowed to eat the food he is given, and is only allowed to make visual observations.
This kind of situation creates a contradiction. The audience experiences a " visual intake " of the food they can not eat. It is a strategy that gives the customer a taste of a series of experiments related to the physical properties of the sculpture, my thoughts on how to make traditional media, and my interest in combining the media. But I deliberately hide my story through a bizarre epic called a deep sea restaurant, and adjust it to be symbolic.

The " deep sea fish " (sculpture) that appears on the video consists of a sculpture that was completed by someone else.I have identified hunting-gathering with re-casting other people’s work, and show my antipathy to the definition of sculpture making. the " deep sea fish “ (sculpture) that were hunted-gathered by me (re-casted) sliced into a thin sashimi, and thin sashimi neatly placed on a plate reminds of a painting on a canvas. I would argue my view of produce sculpture and painting by pseudo act that defines it as a painting

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