• 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.


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


I discovered new types of sea fish in the deep sea approximately 10000 meters below sea level. I felt the charm and homogeneity of the deep-sea environment and deep-sea fish, and opened a Japanese restaurant called "Kiruya" in the deep sea. The restaurant opens three days a week and I prepare the ingredients during my days off. The main menu of the restaurant is a deep-sea fish called sashimi. I collect the deep-sea fish that live around me and create the ingredients.

Although this absurd narrative is obviously 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 guest who entered this Japanese restaurant is any different as he has his own personal situations that he is going through.
I identified him with myself and with the deep-sea fish. I treated him with a deep-sea fish, 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 that they cannot 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 utilizing the deep-sea restaurant and adjust it to be symbolic.

The “deep sea fish" (sculpture) that appears in the video consists of a sculpture that was completed by a different person. 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 was hunted-gathered by me (re-casted) was sliced into a thin sashimi, and the thin sashimi was neatly placed on a plate reminds me of a painting on a canvas. I would argue my view of producing sculptures and painting by pseudo act that defines it as a painting.
Park Jina, Artist
Compared to the first uploaded work, the use of neutral colors in this work is the first thing that comes to my eyes. Whereas the various colors add extensive charm to the visual of ‘The Totem Phase’, the performance this time was recorded in black and white. Colors take its role in the work suggested as sculpture and (fake)painting, but a performance and a video recording the performance are still the center of making and compiling different types of works in a series ‘Kiruya’. In the performance and video I could find several improvements from the last work. The movement of the performer is composed with thoughtful actions. And I like the consistent focus from the beginning to the end. Whereas ‘The Totem Phase’ is focused on the sense of immediacy in the performance and the video acts as its recording, ‘Deep Sea Restaurant’ with multi-angle camera walks, and close-ups is made as a whole cinematic video. Both types of videos each have pros and cons, but for the audience who’s watching the video without seeing the entire performance at site it is much easier to focus on a form of video that is executed with some degree of completion.

Same as the last work, Lee Giwon makes several works as meta-sculpture and meta-painting. Especially I find it very witty that the key element that defines sculpture such as shaving, cutting, and peeling (revealing a figure by removing unnecessary parts) are displaced to the process of cooking. Through the set-up that the guest of the restaurant must appreciate the food only by eyes, the title ‘Deep Sea’ achieves double meaning, and emphasizes that it’s a criticism on visual arts. watching the video I find the sound of physical process of cutting and peeling interesting because there’s no verbal conversation between the two characters. By making the video black and white the role color played in the past seems to be replaced by the sound. A process of cooking the imaginary sea creatures is also a process of deconstructing the existing sculpture, and the concept of creation by destruction shown in ‘The Totem Phase’ once again appears. Painting is referred when an executed dish is plated, and I understand to some extent the alluding the combination and composition of colors and shapes on 2D to plating. However, because the referring of sculpture is very much in detail and stands out I find the suggesting of the last dish as a painting not as important.

One thing that kind of worries me is the certain style shown in the design of the masks the guest wears, and the artist’s easily predictable taste. A certain code of format that is reminiscent of goth, punk, H.R. Giger and so on gives strong impression to an artwork and plays positive role of aggressively showing the aesthetic of the artist, but also has a danger of overlaying typicality to an artwork. Of course, the artist’s taste is revealed, and should be fervently used, however I think the artists will make and develop his unique format that blends his interests and taste as he continues making artworks. In two times the artist set up imaginative scenario and has shown works of different media derived from acting, and I can’t help it wonder what the next scenario will be.

(translated by AOU translator)

이번 작품에서는 첫 번째 작품과의 차이로 가장 먼저 무채색의 사용이 눈에 띄었습니다. ‘The Totem Phase’에서 다채로운 색이 상당한 시각적 매력을 주었는데 이번에는 퍼포먼스 영상을 흑백영상으로 만들었군요. 물론 조각 및 (가짜)회화로서 제시하고 있는 작품에서는 여전히 색이 역할을 하고 있으나, 하나의 연작으로 묶인 ‘Kiruya’에서도 여러 종류의 작품을 만들고 집대성하는 중심에는 퍼포먼스와 이를 기록한 영상이 있는 것 같습니다. 퍼포먼스와 영상에서 이전 작품에 비해 몇 가지 발전한 모습을 발견할 수 있었습니다. 먼저 퍼포머의 움직임이 고려를 많이 한 신중한 동작으로 이루어져 있고 처음부터 끝까지 일관된 집중력을 보이고 있어 좋았습니다. ‘The Totem Phase’가 퍼포먼스의 현장감에 초점이 맞추어져 있고 영상은 이의 기록으로서 역할하고 있다면, ‘Deep see restaurant’는 다각도의 카메라 워크, 클로즈업의 사용 등 영화적인 영상 자체로 만들어진 것 같습니다. 두 종류의 영상이 각각 장단점이 있겠으나 현장에서 퍼포먼스 자체를 직접 보지 않고 영상으로 접할 경우에는 관객의 입장에서 영상의 형식이 완성도 있게 이루어진 경우가 훨씬 집중하기 쉬운 게 사실입니다.

이기원씨는 이전 작품에서와 마찬가지로 메타-조각, 메타-회화로서 몇 가지 작품을 만들었습니다. 특히 영상에서 깎고, 자르고, 껍질을 벗기는(필요 없는 부분을 제거하여 형상을 드러내는) 등 조각을 정의하는 핵심 요소를 요리의 과정으로 치환했다는 게 상당히 위트 있습니다. 식당손님이 음식을 오로지 눈으로 봐야만 한다라는 설정을 통해 ‘deep see’라는 제목이 이중적 의미를 지니고 있음을 나타내고 이것이 시각예술에 대한 비평임을 강조하고 있고요. 영상을 감상할 때 두 등장인물의 대화가 없기에 자르고 벗기는 물리적 과정 중의 소리가 흥미로웠습니다. 흑백영상으로 만듦으로써 예전 색채가 했던 역할을 소리가 하고 있지 않나 싶군요. 가상의 해양생물을 요리 하는 과정은 기존의 조각작품을 해체하는 과정이기도 한데, ‘The Totem Phase’에서 보여준 파괴를 통해 창작을 한다는 개념이 다시 등장합니다. 회화에 대한 언급은 완성된 요리를 접시에 배열할 때 이루어지는데, 평면 위에서 이루어지는 색과 형태의 조합과 구성을 플레이팅에 빗댄 것은 수긍이 가는 면이 있으나 조각에 대한 언급이 워낙 디테일하고 눈에 띄기 때문에 마지막 요리를 회화로 제시했다는 게 크게 중요해 보이지는 않습니다.

작품을 보면서 저에게 약간 걸렸던 것은 손님과 그가 쓴 마스크의 디자인에서 보여지는 특정 스타일과 쉽게 예상할 수 있는 작가의 취향인데요, 얼핏 고스, 펑크, H.R.기거 등을 연상케 하는 특정한 형식코드는 작품에 강렬한 인상을 부여하고 작가의 미감을 적극적으로 드러내는 긍정적인 역할을 하기도 하지만 작품에 전형성을 바로 덧씌워버린다는 위험도 갖고 있다 봅니다. 물론 작가의 취향이 드러나는 것은 당연한 일이고 적극 활용해야 하겠으나, 작품을 해나가면서 이기원씨의 관심사와 취향이 혼합된 나름의 독특한 형식을 곧 만들고 발전시켜나갈 수 있으리라 생각합니다. 두 번에 걸쳐 상상의 시나리오를 설정하고 이를 연기함으로써 파생하는 다양한 매체의 작품을 보여주었는데 다음 번에는 어떤 시나리오가 상상될지 궁금해집니다.

Elaine W. Ng, Editor & Publisher, ArtAsiaPacific
Confidential Advice.
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