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Ji-Yun
Fine Art Drawings - 42 x 29.7 x 0.3 cm Fine Art Drawings - 16.5 x 11.7 x 0.1 inch
€800
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Métamorphose,
2019
Ji-Yun
Sculpture : ink, paper, aluminium
50 x 100 x 42 cm 19.7 x 39.4 x 16.5 inch
€3,000
One of the last works available by this artist
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About the artwork
Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
50 x 100 x 42 cm 19.7 x 39.4 x 16.5 inch Height x Width x Depth
Display
The sculpture cannot be displayed outdoors
Artwork sold in perfect condition
Artwork location: France
Work done on rice paper (pencil, watercolor and India ink) stretched over a structure of metal rods. Interview with Ji-Yun: "Here is a sentence from my grandfather calligrapher which marked me deeply. It can be interpreted in several ways but as far as I'm concerned it's an invitation to introspection, look at the blank page it is to look inside oneself. As a Korean I am obviously influenced by one of the great principles of oriental thought: Yin and Yang, the opposites which balance and coexist in all things. of my works is built from this principle of opposition, with a focus on areas of energy and others that remain empty, neglected ... This also explains the parsimonious use of color, the predominance of black and white. I also think I am indebted to traditional Korean painting which, unlike Western tradition, attaches little importance to composition. Where Western painting fills the entire frame and dwells on details, the ideal korean is to express u n maximum force in a few strokes, even if it means completely abandoning certain areas of space. I think I work the same way in my job, once the energy has been released in some places it doesn't have to be refilled. This also corresponds to a particular temporality, the creation being intimately linked to a brief, intense moment with no possible return. On the other hand, whatever the medium I use (drawings, photo, installation, performance) I use the human body as a raw material and as a subject. Having lived all my childhood in a hospital where I was free to wander, I got used to considering the body as a neutral and inanimate object, to treat it and use it as such in my works. The body can for example be staged in its entirety like a foreign object, or I use limbs, organs, to recompose abstract forms, hybrid objects.
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About the seller
Professional art gallery • France
Artsper seller since 2017
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Presentation
“Everything you're looking for is on the blank page. "
- My grandfather
Here is a sentence from my grandfather, a calligrapher, which deeply marked me. It can be interpreted in several ways, but as far as I'm concerned, it's an invitation to introspection, looking at the blank page is looking inside oneself.
As a Korean, I am obviously influenced by one of the main principles of Eastern thought: Yin and Yang, opposites which balance and coexist in all things. Some of my works are built from this principle of opposition, with a focus on areas of energy and others that remain empty, neglected ... This also explains the sparing use of color, the predominance black and white.
I also think I am indebted to traditional Korean painting which, unlike Western tradition, attaches little importance to composition. Where Western painting fills the entire frame and focuses on the details, the Korean ideal is to express a maximum of force in a few strokes, even if it means completely abandoning certain areas of the space. I think I work the same in my job, once the energy has been released in some places it doesn't have to be refilled. This also corresponds to a particular temporality, the creation being intimately linked to a brief, intense moment with no possible return.
On the other hand, whatever the medium I use (drawings, photo, installation, performance) I use the human body as a raw material and as a subject. Having lived all my childhood in a hospital where I had free time to wander, I got used to considering the body as a neutral and inanimate object, to treat it and use it as such in my works. The body can for example be staged in its entirety as a foreign object, or I use limbs, organs, to recompose abstract forms, hybrid objects.
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