LEE KANGWOOK I N V I S I B L E S PAC E
IN PURSUIT OF ‘INVISIBLE SPACE’
As observing cellular tissue and nervous systems through the microscope, Lee Kangwook has been working extensively with the ‘cells’ motif since 1999. Living organisms are composed as a whole by units of cells; however, synthesising each of these fragments cannot create the whole. Therefore, the notion that the whole is more than a composition of fragments triggered his interest in cellular tissues and nervous systems. This organic relationship between a single unit and the whole becomes a microscopic language in pursuit of himself where the whole becomes “me” and each fragment becomes the molecules that constructs “myself ”. Resultantly, the gap between the viewer and the object is narrowed by how close one can get to oneself. Through this, an anatomical char t in a science lab becomes a topographical map of one’s own body luring the viewer into invisible inner microcosm. Since 1970s there has been an intensive interest in visceral engagement with the body in the construction of new ar tistic language in which the viewers naturally became accustomed to nowadays. Unlike these bodily engagements, Lee approaches the body in a different format. In fact, when it comes down to ‘cells’ the distinction between individuals becomes futile. As the formation of individual identity strictly depends on the distinction from visual perception, the classification of race, gender and individual characters becomes effor tlessly equalising below the microscope. In the end, there is only living or dead cells. As if taxiderming tender amorphous objects, the ar tist fixes the images on the painting surface by plating various thin layers of gel medium and binder above his organic gouache drawing. The image becomes securely fixed and at the same time, it is captured permanently via its excessively sleek and cold surface creating tight surface tension. This instant capture of the living moment reminds us of the thin boundary between movement and pause and life and death which seems to reflect the human desire to maintain an eternal vitality by preserving a living moment. Such ecstatic feeling also originates from witnessing frozen moments in time when encountering Pompeii murals or dinosaurs fossils. In relation to his earlier realistic works, his recent abstract paintings maximise the contiguity of the vision and the sleekness of the painting through overlapping layers. One cannot see or recognise the object forms in the paintings anymore, but rather encounter the smallest floating incomprehensible par ticles such as blood cells and DNA. Tiny par ticles burst out from the membrane by strong inner vital force and drift above the surface, which perhaps is the paradoxical violence that his prudent paintings hold. Perhaps, it may be the minimum limit of violence that a discernable cell can carry. It is impossible indeed to set up the ‘minimum’ visual boundary just like it is for the ‘maximum’. In regards to the infinity, both ends will inevitably meet in the end, however, Lee Kangwook’s recent abstract works star t from the infinity making us question ‘how far can he go?’ His abstract paintings should be understood not as mere abstractions, but the process of visual minimisation and of contiguity. It is necessary to bring out the biological map of the body, which he referred to at the beginning. What intrigues me is whether the breathe of minute lives can be visualized.
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Lee Kangwook’s paintings spotlight the smallest par t of infinite inner world. As an organic linkage of a neuron system stretching out in all directions, the paintings incorporating this sophisticated network can only be par tial in its content and lacking to be the whole. Thus his paintings imply the infinite invisible world, which is interwoven altogether. Both the knowledge of ‘myself ’ and the visual boundary shown in the picture frame are just a por tion of the whole. However, his mysterious paintings present curiosity and honour to the invisible whole. The closer I get, the narrower the boundary gets. Thus I reveal myself – which I have not yet seen before. The pursuit of oneself is the prerequisite of all ar tists. Especially nowadays, they expose themselves or attack each other with provocative languages in diverse ar t genre. Mona Hatoum who publicised ‘myself in me’ so vividly and uncannily using endoscope to explore her body is a good example. Nonetheless, to us such western languages that are expressed as the ‘object ar t’ might seem excessively aggressive. The ar tists with such tendency give the awkwardness that non-native speakers sometimes omit when they speak foreign languages. Lee’s paintings do not cause this sor t of awkwardness or antipathy. I imagine a trip within myself being invited to the world of microcosm that requires long time and visual concentration. It is cer tainly a different experience in regards to contemporary ar tistic practice where shock overwhelms the value of beauty. Lee Kangwook’s paintings are calm and graceful unlike the ‘drastic’ paintings that excessively concentrate on shocking ideas. Although people often comment that one should be crafty to survive in this world, his canvases provide me with comfor t and self-discipline. The reason is because the ‘invisible space’, which is considered as the inner body by the ar tist, can only be examined in a peaceful state of oneself just like his paintings.
Chun, Youngbak / Ar t Critic, Professor, Deapr tment of Ar t Studies, Hongik University
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Untitled - 12041 | Mixed media on canvas | 180 x 300 cm | 2012
Untitled - 12042 | Mixed media on canvas | 180 x 300 cm | 2012
Untitled - 12038 | Mixed media on canvas | 100 x 250 cm | 2012
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Invisible Space - 12036 | Mixed media on canvas | 160 x 300 cm | 2012
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Invisible Space - 070814 Mixed media on canvas 182x262cm 2007
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Invisible Space - 070815 Mixed media on canvas 182 x 262 cm 2007
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Invisible Space - 10043 | Mixed media on canvas | 80 x 130 cm | 2010
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Invisible Space - 12033 | Mixed media on canvas | 60 x 90 cm | 2012
Invisible Space - 12034 | Mixed media on canvas | 60 x 90 cm | 2012
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Invisible Space - 12035 | Mixed media on canvas | 95 x 160 cm | 2012
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Invisible Space - Image 09056 | Mixed media on canvas | 97 x 162 cm | 2009
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Invisible Space - Image 10121 | Mixed media on canvas | 61 x 91 cm | 2010
Invisible Space - Image 101119 | Mixed media on canvaa | 61 x 91 cm | 2010
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Invisible Space - Image 09082 | Mixed media on canvas | 73 x 50 cm | 2009
Invisible Space - Image 09085 | Mixed media on canvas | 73 x 50 cm | 2009
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Another Wor ld - The Body 1 | Mixed media on canvas | 91 x 117 cm
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LEE KANGWOOK ( b.1976 )
EDUCATION 2011 MFA, Chelsea College of Ar t and Design, London, UK 2003 MFA, Hong-Ik University, Seoul, Korea 2001 BFA, Hong-Ik University, Seoul, Korea SOLO EXHIBITIONS 2012 Asia House, London, UK 2011 Gallery Rho, Seoul, Korea 2007 Gallery Rho, Seoul, Korea Hino Gallery, Tokyo, Japan 2006 Spring Gallery, Shanghai, China 2005 Galerie de Temps, Tokyo, Japan Cheltenham Ar t Center, Philadelphia, U.S.A Gallery Will (Gana Ar t center), Seoul, Korea 2004 Gallery Rho, Seoul, Korea Gallery Ju-ichi gatsu, Tokyo, Japan 2002 Total Ar t Museum, Jangheung, Korea Hanjeon Plaza Gallery, Seoul, Korea SELECTED GROUP EXHIBITIONS (since 2003) 2011 Korean Collective, Basel, Switzerland Leonhard Ruthmuller | Contemporary ar t Basel, Switzerland Degree Show, Chelsea College of Ar t and Design, London, UK 2010 Korean Collective London 2010, Albemarle Gallery, London, UK 2009 Ar tist of Tomorrow, Gallery Rho, Seoul, Korea Lee Kang-wook & Hong Sung-Chul Exhibition, Andy`s Gallery, Seoul, Korea Lee Kang-wook & Ban Joo-young Exhibition, GAllery MANO, Seoul, Korea 2008 Emergentism, Edge Gallery, Hong Kong, China Ar t, Insa Ar t center, Seoul, Korea 2007 Imaginary Moments, Im Ar t Gallery, Seoul, Korea H.ar t “Speed Up”, Hyundai Motor Company, Seoul, Korea 2006 Small Painting ,Large Mind, Rho Gallery, Seoul, Korea Contemporary Ar t of Korea and Japan, ONO Gallery, Tokyo, Japan We Meet Prague-Korea, Contemporary Ar t 16 Ar tists Joint Exhibition, Galerie Passage, Prague, Czech Republic “Various Color & Various Sensitivity”, Gallery Zandari, Seoul, Korea 2005 “Blue”Exhibition, Gana Ar t center, Seoul, Korea Seoul Young Ar tist Exhibition-Por tfolio 2005, Seoul Museum of Ar t, Seoul, Korea The 1st Seoul Young Ar tist Biennial, Seoul Museum of Ar t, Seoul, Korea “New Look” Exhibition, Sejong Center for the Performing Ar ts, Seoul, Korea For the Mutual Understanding of Contemporary Ar ts between Korea and America, Cheltenham Ar t Center, Philadelphia, U.S.A “My Private Gallery”, Gana Ar t center, Seoul, Korea 2004 “Happiness-Ar t Travel” Exhibition with CJ & Eleven, Josun-ilbo Ar t Museum, Seoul, Korea “Red Heaven” Exhibition, Changdong National Ar t Studio, Seoul, Korea The 10th contemporary Ar t of Korea and Japan, Chikyudo Gallery, Tokyo, Japan 2003 Origin- ‘distinction & homogeneity’ Exhibition, Jebiwool Museum, Kwacheon, Korea The 9th Contemporary Ar ts of Korea And Japan, Seoul gallery, Seoul, Korea Inspection of Contemporary Ar ts, Kyonggido Ar t Center, Suwon, Korea “Tokyo-ten” Exhibition, Tokyo Metropolitan Ar t Museum, Tokyo, Japan
This catalogue is published by HADA Contemporary to accompany the exhibition:
LEE KANGWOOK SOLO EXHIBITION INVISIBLE SPACE 26 JULY - 11 AUGUST 2012 AT ASIA HOUSE | 63 New Cavendish Street, London W1G 7LP No part of this publication may be reproduced in any form or by any mean, electrical, mechanical or otherwise without prior written permission from HADA Contemporary Ltd.