The paradox of illusion Park Seung Mo
The paradox of illusion
foreword
As if emerging from the depths of serene darkness itself, the face of Maya, the illusion, both overwhelms and surrenders to perception. Beyond what is so indisputably tangible, is where the mirage lies- speaking through its reality into an ethereal consciousness that forms a paradox, culminating into a weightless existence. The art of Park Seung Mo is not installation, it is not sculpture, it is not portraiture; it is an exposition on consciousness, a critique of reality and most of all, a discourse on the meaning of the self itselfchurning existence into a haze of wired ambiguity. Here is where skill meets the elusive crossroad of conceptual- where does meaning begin and aesthetic end? Where does the reading start and the understanding close?
layers of wire mesh that have been strategically clipped and placed together, illuminated by light to exhibit its transience. Almost as a form of meditation, the artist meticulously cuts layer through layer, with each tiny cut forming an element to the depth that ultimately emerges from the image as a whole. ‘Illusion’ here, then, carries far more connotations than just one. It applies to both his physical composition and process, as well as the ideation that brought it to fruition. The overall effect, regardless of conceptual understanding, is aesthetically stunning, with the artist skilfully putting together light and shadow to form a multi-layered visual experience that transcends the composing material into a hyper realistic sensory display.
It is all, of course, a matter of perspective. As Park Seung Mo tells us, the real question us- what is Maya and what is not?
Although the art of Park Seung Mo may contain complex metaphors, and incite deep conceptual readings, the interesting contrast is the calm ethereal aura it emanates. Just as the artist himself resonates a serenity of thought, so does his art speak clarity in its visuals. The art is transportive, taking with it the attention and constructed conventions of all who view it. He displays to us a memory of a dream, and yet, the longing contained within it, the sense and question of self- remains indelibly universal. It heartens me to observe that although most certainly unique and demanding of attention as his art is, it is one that is embodied with meaning, thought, and aesthetics that cross far beyond just aesthetics. It is with this belief that I now proudly present to you the art of Park Seung Mo; not simply as a display, but as a journey of questioning, exploration and of course, perception, across the conceptual intricacies that form the depth to our very own illusions of thought.
Taken from the Sanskrit language, ‘Maya’ is closely translated to ‘illusion’. Far transcending simple tricks of the visual trade, this series by the Korean born artist is a coalition of multiple inspirations. Greatly influenced by his time in India, the artist’s first series of works were that of figurative anonymity, questioning the self and the absence of identity. Eventually, however, the artist began to give his works names, based on the models behind the faces, studying the influence and extent of identity when present. ‘Maya’ is the third part of his wire mesh excursions, where the artist hunted for a model that resembled a woman he once met in his dreams, and consequently turned into an art series that explores what may constitute consciousness. Was his dream any less reality than the present? Or to delve further, was it his consciousness or another?
— Jazz Chong Director, Ode to Art
Such conceptual lengths can be seen in his composition of the works, where he puts together
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Park Seung Mo
A Fingerprint of Time Choi Tae-Man, art critic
as it is wrapped by a transparent sheet. Specifically, Duchamp’s cover makes viewers infer it but Christo’s typewriter presents it. Parks’grand piano is not presentation as well as inference. It is the tied object itself and also it is a big mass of which significance was newly given by the artist. Simultaneously, as above mentioned, it is a big cocoon. Whether it is a grand piano or not granted that it is a contrabass, a saxophone or a rocking chair it is nothing more than an exhibited thing that is useless. But at the same time, its outline well shows its identity. It is associated with a ghost who wanders about a specific object without leaving it. Aluminum is a factor that makes the object strange due to its neutral and impersonal characteristics. Furthermore, the solidity of wire makes viewers have an impression that it was produced so to begin with rather than was tied up by wire. Paradoxically, such characteristics make viewershave a hunch that he might attempt to re-create the object by using wire. Its clear outline is associated with re-creation but what he tied up it is not related to re-creation. Contrarily he erased desire for re-creation in order that the identity of the object might be vague, and therefore it is characterized by firmness as well as vagueness just like ‘Erased De Kooning Drawing’.
My memory of his works traces back to a grand piano tied up by wire. Wrapping a specific object makes me bring ‘Christo Vladimirov Javacheff’ to mind. What earthworker Christo wrapped PontNeuf in Paris or the Capitol in Berlin has something in common with what Park tied up the grand piano. It is because the identity of the wrapped object was changed. Also, the wrapped objects lost their essential functions. Of course, things wrapped by Christo are not limited to buildings. One day, he exhibited a calculating machine wrapped by using plastic sheets and strings. Before then, Marcel Duchamp concealed an object by using the cover of a typewriter. The cover, on which a logotype ‘Underwood’ is clearly marked, gives words to the inside thing, but holds back the object. Man Ray also wrapped objects, using cloth and strings. He wrapped mass-produced products by using soft materials. In result, they lost their functions but their basic forms strongly refuse to disappear. And so is the grand piano tied up by Park. Its form became insignificantas it is tied up by thick wire but its essence did not disappear. To be specific, it makes the original vague just like ‘Erased De Kooning Drawing’ of Robert Rauschenberg. The grand piano, tied up by thick wire, seems a piano due to its outline but it cannot function as a piano anymore and so it looks like a cocoon. In this context, it makes a difference between what Duchamp or Christo wrapped what Park tied up.
Park’s past works were focused on newly giving the existential significances of objects as masses, by depriving them of their functionality. But on the other hand, in recent times his works have focused on the human body with literality and obstinacy. Particularly, a fashion model was mocked up. In order to make the work, he conducted lifecasting on about 100 real-life characters, and tied up such models by wire. Such a work is being carried out even up to now. What he personally sculptures so many characters seems to be an incautious plan, but let alone such works, he remakes
In Park’s work, thick wire tiding up the object stretches from the central point with a regular course. Wire ties up the object at regular intervals, along the course. The trace of wire is a fingerprint on the surface, and is the texture leading eyes. Duchamp’s typewriter cover makes viewers infer the inside object, but does not show it. On the other hand, Christo’s typewriter is well shown
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ers had better focus the creativity of the work, not the real-life model. This work, in which even the softness of the dress was expressed in detail, primarily shows up skillful re-creation. But silence, in which consumed time was coagulated, is beyond re-creation. This work, containing the traces of a long time, mysteries that cannot be puzzled out by our observation, excessive and repeated labors, and something else, has unique beauty that cannot be realized by other materials. In a word, wire can function as the fingerprint of time even in works molded on real-life characters.
such patterns with aluminum or copper wire. It may be understood that he struggles with time or overlabor himself. Actually, he already finished several works by re-covering wire on polycoats. Such works show that he outgrew his former self that ties up objects and masses them. A strong desire for re-creation is reflected in this sculpture, and so the reality of the object outstrips the properties of the material even though it was tied up by wire. The outline was expressed in detail by thin wire. As the result, literality was showed off but esthetical consideration was gotten behind. It does not mean that such works are not esthetical. The mold, coiled by wire without reconstruction, deformation and distortion, well shows up tactility. Namely, the surface, whose properties are clearly brought into relief by light collision and reflection, incites viewers to feel its tactility.
The work is realistic, mysterious and impersonal, but at the same time, have close texture just like a mannequin. It is not difficult for viewers to read the passion and simple honesty in his works. I heard that he went to India when he was a university student and he spent several years in mediating. Granted that his experience was not immediately reflected in his works, his modest attitude to labor shows that excessive labor smoothes our ruffled feathers. It is within bounds to say that his re-creation through works, molded on 100 real-life characters and were wrapped by wire, are associated with the mortification of an ascetic.
Through the process that ties up the surface of a mock-up with wire, I set my mind back to Egypt’s funeral culture that covers a gold mask on a mummy. The gold mask symbolizes the position of the dead, but at the same time, it is to prevent putrefaction. Park’s figures evoke a mystiquethrough stopped time and the permanence of a moment. However, his figures are independent objects even though they were molded on real-life characters. Upon being wrapped by wire, the personality of his works disappear, but instead, their anonymities become prominent the same as each individual is not important in George Seagal’s works molded on real-life characters; even though it has many evidences for specific characters. Such characteristics may be similar to fashion models. Each model is very important for the designer and also some few of the audience take an interest in models. Even if it were so, models should not be brought into relief in a fashion show. Otherwise, it may be an obstacle to understanding works. View-
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MAYA LEE JAEHYO Stainless steel wire mesh
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MAYA MONALIZA Stainless steel 920 x 1070mm, 2011
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MAYA413.2012 Stainless steel mesh 141 x 22.5 x 267cm
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MAYA813,2011 Stainless steel wire mesh 171 x 30 x 171cm
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MAYA6469.2011 Stainless steel wire mesh 215 x 220 x 30cm
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maya2444 Stainless steel mesh 114 x 23 x 152.5cm, 2014
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MAYA 434.2012 Stainless steel wire mesh 190 x 156 x 16cm
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MAYA 607,2011 Stainless steel wire mesh 187 x 67 x 280cm
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maya3004 Stainless steel wire mesh 2150 x 30 x 2050mm
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MAYA7624,2013 Stainless steel wire mesh 220 x 55 x 280cm
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MAYA762,2012 Stainless steel wire mesh 160 x 95cm
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MAYA1618, 2012 Stainless steel wire mesh 89 x 90 x 160cm
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MAYA973,2011 Stainless steel wire mesh 340 x 24 x 170cm
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MAYA5007,2013 Stainless steel wire mesh 220.5 x 9.5 x 158cm
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MAYA846,2011 Stainless steel wire mesh 320 x 320cm
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MAYA879, 2012 Stainless steel wire mesh 364 x 230 x 50cm
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Albert Einstein Stainless steel wire mesh 865 x 150 x 965mm, 2014
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Gandhi Stainless steel wire mesh 905 x 135 x 905mm, 2014
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Lee Kuan Yew Stainless steel wire mesh 1215 x 100 x 1265mm, 2014
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Lee Kuan Yew Stainless steel wire mesh 1215 x 100 x 1265mm, 2014
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portrait with bandaged ear and pipe Stainless steel wire mesh 145 x 161cm, 2014
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Theresa Stainless steel wire mesh 905 x 135 x 905mm
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maya1146 Stainless steel wire mesh 132 x 96 x 244cm
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MAYA7200, 2011 Stainless steel wire mesh 171 x 23 x 171cm
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MAYA7265,2013 Stainless steel wire mesh 116 x 28 x 241cm
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MAYA8460,2013 Stainless steel wire mesh 215.5 x 10.1 x 128.5cm
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MAYA7343,2013 Stainless steel wire mesh 160.5 x 49 x 229.5cm
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MAYA9782 Stainless steel wire mesh 600 x 9 x 126cm
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MAYA7655.2013 Stainless steel wire mesh 90 x 47 x 285cm
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MAYA9208,2013 Stainless steel wire mesh 140 x 36 x 271.5cm
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maya9273 Stainless steel wire mesh 340 x 255cm
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MAYA7657,2012 Stainless steel wire mesh 234 x 16.5 x 178cm
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Selected Solo Exhibitions 2015 Paradox of Ilusion , Singapore, Artstage Ode To Art 2014 DENNOS Museum Center, Traverse City, USA HADA contemporary gallery, London, England 2013 NAMPO ART Museum, Korea ARTISSU Gallery,Taipei,Taiwan 2012 BUNDO Gallery, Daegu,Korea HADA contemporary gallery, London, England BLANK SPACE Gallery, NewYork KIPS Gallery, NewYork Lotte Gallery, Busan, Korea Dosi gallery, Busan, Korea 2011 ABSINTHE Gallery,Korea 2010 Ever Harvest Art Gallery, Taipei, Taiwan 2008 Gallery Artside, Seoul, Korea 2005 Gallery Artside, Seoul, Korea
Selected GROUP Exhibitions 2014 K-P.O.P(Korean Process Otherness Play), MOCA, Taipei, Taiwan 2013 Hong Sungchul,Park Seungmo, HADA Contemporary, London SCOPE MIAMI, Maiami BOS2013,NewYork
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The paradox of illusion G-SEOUL International Art Fair, Seoul, Korea 2012 BOS2012 SOLID ILLUSION,Hangaram Art Museum, Seoul Art Center, Korea SCOPE MIAMI KIAF, Coex, Korea JIN.TONG, Gwangju Museum of Art, Korea KOREAN EYE ,Fairmont Bar Al Bahr, Abu Dhabi CIGE ,Beijing, China KOREAN ART SHOW, NewYork,NY 2011 aha! moment, hangaram art museum, seoul art center, korea Korean Eye ,Mueum of Arts and Design ,New York,NY Korean Eye ,The National Assembly, Korea 2010 ART TAIPEI ,Taipei, Taiwan 2009 Korean Eye Moon Generation (Phillips de Pury, Company Space at The Saatchi Gallery, London,England KOREAN AESTHETICS ,Albemarle Gallery, London,England Lodon Art Fair, Lodon, Englan 2008 Albemarle Summer Show, Albemarle Gallery, London, England Korea Now, Artlink, Sotherby’s, Israel Beijing Art Fair, Beijing, China KIAF2008 (Korean International Art Fair),COEX, Seoul, Korea 2007 CIGE, Beijing, China Lines in Space, Kyunggido Museum, Kyunggi, Korea ACAF, New York,NY 2006 CIGE, Beijing, China Shanghai Art Fair, Shanghai, China 2005 CIGE, Beijing, China 2000 Nandan Arts Festival, Kolkata, India
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First published 2015 Ode To Art Raffles City, 252 North Bridge Road, Raffles City Shopping Centre, #01-36E/F, Singapore 179103 Tel: +65 6250 1901, Fax: +65 6250 5354 Ode To Art Kuala Lumpur, 168 Jalan Bukit Bintang, The Pavilion, #06-24E/F, Kuala Lumpur 55100, Malaysia Tel: +603 2148 9816 Fax: +603 2142 6816 info@odetoart.com odetoart.com
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