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Ji-Yun Métamorphose, 2019

$3,537

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The artwork is available for pickup from the gallery in Paris, France


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About the seller

Professional art gallery

Paris, France

Artsper seller since 2017
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About the work
  • Medium

    Sculpture : ink, paper, aluminium

  • Dimensions cm | inch

    50 x 100 x 42 cm

  • Display

    The sculpture cannot be displayed outdoors

  • Type

    Unique work

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Hand-signed by artist

  • About the artwork

    Artwork sold in perfect condition

    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. Watch the video: https://vimeo.com/330805489

    2207_Ji-Yun from laurent zylberman on Vimeo .

    Read more

    This content has been translated by Google Translate.

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Origin: France
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Want to go further?

Ji-Yun

South Korea

“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.

Read more

This content has been translated by Google Translate.

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