Light sculpture of Thinking Dualism | Jun-gi Kim
Tae-hoon Choi shakes stereotypical logic and sensitivity on sculpture and disturbs inherent values of sculpture. He tries reflective introspection on sculpture as a solid material world, in other words, on a sculpture coming and going between a property of mass and an illusion of volume. His recent work is to reproduce objects inside and outside residential space, that is objects such as automobile and sofa, bathroom and bedroom as welded sculpture works. His welded sculptures give visual fantasy to every objects. One step further, his recent works disturb properties of matter by illuminating inside and outside metal sculpture. The light shining through steel plates with holes of Tae-hoon Choi’s unique style overpasses stable marking system of welded sculpture generating an illusion through physical properties and volume of a steel plate. He strongly hint that our recognition on the rest objects and the object has a dialectical relationship that dual structure such as mass and volume, the out and the inside, existence and nonexistence, etc. coexists.
His entry works forms meeting of a solid and light to fit the respective space. The front part of an automobile cut in an oblique line plays a role of an introduction part inside glass space of the entrance of Exhibition. The first space inside the room is a living room that a sofa and a table, ash tray and cigarette and jacket, etc. appear. The huge cactus extends and climbs up to opened second floor space. The second floor is a bathroom. There are a bathtub, a mirror and a washstand. He cut out these objects. Of course, The cut-out space is not a honest vertical line or horizontal line.
The partition but obliquely and uneasily shows sensitivity of the artist rejecting stability well. The third space is a bedroom. A slipper, a hanger and a bed appears. The material called a bed cut in an oblique line, the image in a television made by connecting metal pieces and the language of light that the outside and inside illumination crosses provide very sensuous and heavy visual experience.
Light is a fundamental element that makes existence of objects recognized. Tae-hoon Choi changes a method itself that existence of objects recognized. Tae-hoon Choi changes a method itself that existence of objects is recognized by controlling lighting. He allows us to introspect existence of a property of matter and light in the rear of visual illusion. He raises the intensity of immersion on sculpture works by contrasting the inside and outside lighting of sculpture dramatically. By adjusting to make the outside lighting brightening welded sculpture slowly become dark, and to make light coming out from inside the sculpture brightly at the same time, he gives life to dramatic contrast effects between sculpture of when the outside lighting receives and sculpture emitting light itself. If it is considered that the behavior called appreciation of sculpture works flows vaguely according to an arbitrary line of flow of spectators, it can be thought that the lighting adjusting strategy of Tae-hoon Choi raises the intensity of immersion on works relatively. Showing sculpture in a way that while the outside lighting is reduced, the inside lighting increases seems to be separated from a traditional meaning of sculpture language, but in fact, it is also a way showing the essence of the sculpture language very clearly.
Light is dual existence that is matter and is not matter at the same time. The dualism of light comes from properties of light that exists as a particle sometimes and exists as wave sometimes. The thing Taehoon Choi shows through enry works of this exhibition is a problem of dualism. He draws light and criticize visual uniformity noticing only external shape. His strategy that crosses solid metal and fluid-like light, matter and non-matter contains a reason of the world that 2 kinds of elements coexist, that is, a problem of dualism. The sculpture works made of stainless steel has unchangeable material structure. It is material that keeps it existence very stably and occupies physical space. The thing that supports solid stability of material called sculpture is volume. My sculptures with an affluent sense of volume reproduce existence of objects in a more attractive way due to unique surface texture that scratches out the surface of stainless steel and connects its pieces.
He reduces lighting that illuminates the surface of sculpture from the outside, instead, sends light from the inside of sculpture to the outside, so he overturned logic of the inside and the outside. Light emitting from the inside of sculpture dissolve solid volume. Due to his illumination technique making light shine through little holes generated by traces of welding passing through a metal surface fast, my sculpture technique passes over a stage of reproduction art depending on an illusion. He awakes that our belief on existence of objects depends on an illusion as the words by drawing light inside sculpture works. By crossing the uni-directionality of the outside lighting that illuminates sculpture with the inside lighting, his sculpture takes a position as a metaphor on the world full of dualism. In other words, Tae-hoon Choi is speaking the nature and civilization and the dualism soaked into our life through metaphoric language drawing a relationship between metal and light.
Tae-hoon Choi connects a goal of his work to reflective introspection on sculpture itself through this. While the elements such as material and non-material, volume and light, inside and outside, fullness and emptiness, etc. are mutually colliding, the sculpture of dual skin project acquires thinking and sensitivity of dualism in a process searching for New Harmony. In short, Tae-hoon Choi acquires thinking of dualism by sculpturing sculpture (called circumstances) while expanding welded sculpture to light sculpture.
Light is dual existence that is matter and is not matter at the same time. The dualism of light comes from properties of light that exists as a particle sometimes and exists as wave sometimes. The thing Taehoon Choi shows through enry works of this exhibition is a problem of dualism. He draws light and criticize visual uniformity noticing only external shape. His strategy that crosses solid metal and fluid-like light, matter and non-matter contains a reason of the world that 2 kinds of elements coexist, that is, a problem of dualism. The sculpture works made of stainless steel has unchangeable material structure. It is material that keeps it existence very stably and occupies physical space. The thing that supports solid stability of material called sculpture is volume. My sculptures with an affluent sense of volume reproduce existence of objects in a more attractive way due to unique surface texture that scratches out the surface of stainless steel and connects its pieces.
He reduces lighting that illuminates the surface of sculpture from the outside, instead, sends light from the inside of sculpture to the outside, so he overturned logic of the inside and the outside. Light emitting from the inside of sculpture dissolve solid volume. Due to his illumination technique making light shine through little holes generated by traces of welding passing through a metal surface fast, my sculpture technique passes over a stage of reproduction art depending on an illusion. He awakes that our belief on existence of objects depends on an illusion as the words by drawing light inside sculpture works. By crossing the uni-directionality of the outside lighting that illuminates sculpture with the inside lighting, his sculpture takes a position as a metaphor on the world full of dualism. In other words, Tae-hoon Choi is speaking the nature and civilization and the dualism soaked into our life through metaphoric language drawing a relationship between metal and light.
Tae-hoon Choi connects a goal of his work to reflective introspection on sculpture itself through this. While the elements such as material and non-material, volume and light, inside and outside, fullness and emptiness, etc. are mutually colliding, the sculpture of dual skin project acquires thinking and sensitivity of dualism in a process searching for New Harmony. In short, Tae-hoon Choi acquires thinking of dualism by sculpturing sculpture (called circumstances) while expanding welded sculpture to light sculpture.