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NOV. 14 -NOV. 30.2023

As a special exhibition at ARTBN, we introduce the sculpture exhibition of young sculptor BANG IN GYUN.

Seoul-based young artist BANG IN GYUN explores the possibility of reinterpreting objects created through the essential elements of formative language, simplifies images of various things, and uses the symbolism and imagination of ideas to develop his constructive language through the toy 'Beads Maze.' BANG borrowed the two concepts of fun and play from his childhood memories of the curved lines of the toy 'Beads Maze' that he used to play with and the shapes of various shapes, and developed new ideas about the theme of his work. BANG has been discovering informativeness and working to diversify and maximize it. Breaking away from the concept of traditional sculpture through materiality, the artist focuses on the diversity of expressions of modern art and experiments with the possibilities of his stories and formative forms. This exhibition presents about ten pieces of <a Piece of Cake> that capture the concept of ‘play’ discovered in ‘Beads Maze,’ the most central part of the artist’s work.

The artist is experimenting and exploring the possibility of interpreting objects through various formative languages ​​based on Gestalt theory, which is a theory that perceiving objects in everyday life is not about the properties of the object but rather about perceiving the object as a whole.

In the early period, people tried to quickly view objects through shapes such as lines, cubes, spheres, and cylinders. Still, the attempts at that time were a process of experimentation that could smoothly describe formative language and were a time that produced modern results. The work of visualizing an object formatively (3D) has gradually developed into a process of simplifying the thing. For example, when many children draw a house, the roof is drawn in a triangle, and the housing body is drawn in a square shape. The possibility of form has developed into a formative work with the concept of simply looking at the overall appearance of the object from a 'child's perspective.'

Based on POLYGON (a polygon of the smallest unit that defines a three-dimensional figure in computer graphics), he is expanding his work world by combining and converting forms into various forms, works that attempt visual perception changes, and works that contain simple or memorable symbolic images that anyone can easily understand. The work of reinterpreting an object into a form using the essential elements of formative art, "dot," "line," and "face." The work is composed in a form that becomes the intersection of the perspective viewed as a figure and the idea of simplifying the object and expressing it in a formative way. It creates tension in the work by discovering the possibilities of form in the image to be easily viewed, reinterpreting it interestingly, and stimulating the imagination beyond simply appreciating it. It draws out the potential and possibilities of visual form through the abstractness inherent in familiarity and, conversely, the understanding that can be read from abstractness.

The objects the artist embodies through his exhibition work are introduced mainly through a two-stage production method.

First, a distinctive feature of selecting the first object is that only objects with unique characteristics are mainly selected. Things that we commonly understand and actual objects expressed in a specific genus are perceived as vertically and horizontally symmetrical images by force. For example, if a giraffe is represented as a four-legged animal with a long neck, it will be standing upright, gathering for water, or spreading its feet apart. The integration of large-mouthed mammals and new jungle-like cows characterized it.

Second, it is a process of making various attempts while changing the object's shape, and it is a step of trying while contemplating which form leads to a smooth Gestalt reading. It is a process of thinking about what kind of perceptual imagination to induce from others except the artist and trying the most to see which form has sculptural characteristics and can draw interest. In this process, I try all the various shape changes expressed in the work. After that, the state that can most effectively indicate the intended intention is implemented. It is a process of attempting the possibility of form based on this production method as a fundamental principle. The reinterpretation of the perceived image of the object and the optical derivation is an act of liberating the empirical interpretation tied to a form as a process of expanding the possibility of meaning.

BANG wants to communicate the public's pleasure to feel and communicate with fun and play as if a child were playing, which can recall childhood memories while combining pure different figures. Through the stage that the artist arbitrarily sets, you can look at various formative compositions and see the attempts to portray the possibility of infinite visual forms through this exhibition.

BANG sets the name of the works in the "Beads Maze" series in each piece with an abstract form and the concept of the object. Through this set name, you can look at various formative compositions, and it captures the attempts to depict the possibilities of infinite visual forms. Through this exhibition, I would like to convey the opportunity to recall childhood memories through pure formative beauty and the tremendous visual joy as if a child were playing.










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