스킵네비게이션

Born 1977 in Daegu, South Korea

Lives in Seoul

KWON Yongju, Waterfall, 2020, Tarpaulin, covering, styrofoam, rubber bar, automatic bar, scaffolding, water pump, wood and others, 976×731.8×418cm

KWON Yongju observes individuals’ lives microscopically andsculpts them out to the material world, the reality. He uses everyday objects in the process, whichto him are byproducts or fragments that seem to be meaningless or worthless, residing both inside and outside of the visible world, the life. The artist collects and assembles these fragments—which might even look like junk—and creates a certain form with the collected items. Going through this process, the objects lose their original position, context and purpose, and reveala particular layer of this society. He calls these sculptures “sub-landscapes” which create another level of realism, generated by the traces of vulnerable individuals. For example, in Buoy Light (2010), a microscopic aesthetic permeated by everyday life and reality is achieved by creating an ascending structure composed of PVC fabric, wrapping material, abandoned furniture, paint bucket, etc., in a wobbly form. In another work, Waterfall-The Structure of Living (2011-2013), the artist creates a dynamic by letting water circulate over the structure so as to present such energy.