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Wrecker-the Bolt by Dmitri Shostakovich-Series I, 2025
Sanghoon Kang  

Painting : acrylic · 101.6 x 76.2 x 3.8 cm 40 x 30 x 1.5 inch · Ready to hang

€2,400 2 400 €
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Shipped from: Canada

Delivery to: Germany , € 200

Estimated delivery: One to two weeks

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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, not framed, ready to hang

with stretcher frame

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the artist

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

101.6 x 76.2 x 3.8 cm 40 x 30 x 1.5 inch Height x Width x Depth

Sold by

Independent artist

Credentials

Vetted seller since 2026

Description

In 1991, the Moscow State Symphony Orchestra was invited to Seoul to perform for the first time in Korean history. It was a concert held to commemorate the first anniversary of the establishment of diplomatic relations between the Soviet Union and South Korea.

I ended up serving as the driver for the orchestra's director for two days and the director began to talk about the opening piece of the concert.

It was called “Wrecker" from the ballet The Bolt by Dmitri Shostakovich. He told me that the ballet was composed in the 1930s and had been banned for political reasons in the Soviet Union after its first performance in Leningrad.

Remarkably, the piece was going to be performed again—nearly 60 years later—in Seoul. The performance was also the last one before the Soviet Union changed its name to the Russian Federation.

However, I had no idea how music that had been banned for such a long time in the Soviet Union was allowed to be performed in South Korea, a society filled with strong anti-communist, anti-socialist sentiment at the time. While the orchestra was rehearsing, I heard that music repeatedly for the very first time.

It began with a powerful blast from the brass section, and the piece depicts a small bolt destroying a relentlessly spinning machine within a distorted socialist system. It was a kind of music that symbolized the cry for freedom by workers, and the piece creates an overall dark atmosphere, but it features a melody that is simple yet powerful and evokes intense movement. 

Now, about 35 years later, I share on canvas the impression of the music that I felt in my body as I listened to that piece, performed in Korea in 1991. It was not until 2005 that the piece was finally performed again in Moscow, Russia.

Geometric

Geometric abstraction

Grey

Sanghoon Kang, Wrecker-the Bolt by Dmitri Shostakovich-Series I

Sanghoon Kang

South Korea  • 1963

Presentation

To me, music is both an inevitable encounter and a vital compass in life. 

As a lifelong cellist raised in a musical family in Korea, music has become a fundamental part of my identity, woven into my life by both passion and obligation. Though I did not pursue the path of a cellist, I was drawn to fields such as engineering and architecture, disciplines that intertwine art, logic, and imagination. I completed my undergraduate studies in mechanical engineering in the U.S., went on to pursue graduate studies in architecture in the U.S., and earned doctoral degree in architectural history in France. 

After a long and winding journey, I worked as an architect, taught architectural history in universities in Korea, and art gallery director in France, moving between cultures while constantly searching for an artistic language through which I could communicate with my own inner world. During my years in Paris, France, directing an art gallery, my long friendships and collaborations with artists from around the world deepened my desire to realize my own artistic vision. Eventually, upon leaving France and settling in Canada, I began a new chapter as a visual artist, a painter. 

While studying architecture, I encountered Goethe and Schelling's evocative notion that “architecture is frozen music." The idea fascinated and inspired me to connect the three threads that have shaped my life, music, architecture, and painting, into a single expressive form. 

Listening to music, I try to perceive the movement of notes and visualize their inner structure, exploring it through a scientific lens. By enumerating, separating, juxtaposing, and merging various geometric forms, combining them with diverse color harmonies, I create my own “play" of structure and sound, imagining the shape of “frozen music." Through these , I strive to express the stories of humanity, nature, culture, and the spirit of nations within a single on canvas. 

For me, painting is a precious way to share moments of peace, blessing, and joy that art brings, and to participate in the world through them. Many viewers from around the world have said that they could almost “hear" the music in my paintings. When we talk about the aesthetic beauty within these musical images, I feel that they, too, are sharing in the same mysterious world that art creates. 

My artwork has been exhibited and introduced through solo and group shows and art fairs in France, Canada, the United Kingdom, Korea, and Japan. I am currently focused on researching 21st-century music and painting. 

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