• additional view of artwork by Yong-won SONG
  • additional view of artwork by Yong-won SONG
  • additional view of artwork by Yong-won SONG
  • additional view of artwork by Yong-won SONG

Being in the world + Black objects


South Korea

Sculpture
Size: 33.9 H x 17.7 W x 72.8 in

Ships in a cardboard box This work will ship flat in a sturdy, well-protected cardboard box. Read more

  • 949
    Views
  • 6
    Favorites

Artist Recognition

Artist featured in a collection Artist featured in a collection

Art Description

Sculpture: Metal and Steel on Soft (Yarn, Cotton, Fabric) and Steel.

Being in the world + Black objects
185 x 45 x 86(h)cm
Steel, Hot glue, wire welding, stitching, Black thread, Epoxy Coating
2015
Works pedestal / Add order Inquiry - If you want the rest of the work


Art and Criticism: Song Yong Won’s Shadow Sculpture
Park Young-Taek Professor of Kyonggi University and art critic
If painting exists on a plane, sculpture inhabits a space. Painting without plane is unimaginable. This indicates that for an image to exist, support fixture for it to sit in, in other words, ground is required. Sculpture traditionally also requires physical space, i.e. floor and between the floor, pedestal is intervened. Sculpture, of course, exists in a space. Anyway, the ontological condition of painting is obviously plane. This is not to say that painting is purely converged to a plane. On reflection, the history of painting might be the result of various interpretations and recognition of planes on which image exists. Along with it, the issue of what the image is will be entailed. If painting is one illusion, sculpture is rather existence. It is a physical reality and approaches to a specific world. If painting reveals its image by borrowing materials, sculpture makes its materiality more pronounced with image. Modern sculpture starts with a strategy to reveal the world of materials mobilized to show its image as it is. It is a notice of the natural fact that it is material before it becomes image. Picasso’s collage is an example showing that painting is not shape but material. In sculpture, Rodin manifested such a thing. After Rodin, sculpture paid attention to ‘material,’ primitive ontological condition of sculpture. Since then, the major task was presentation of materials rather than expression or reproduction. Resultingly, sculpture went through the process that it was reduced to material. However, sculpture will never be no more than simple material. Today, modern sculpture is prospering by setting relationship between material and image, and between space and environment, and further, disintegrating the frames that define the existing sculpture.
Today, Korean sculpture is dominated by reproduction of images with various materials. It is seen as an interesting approach to illusory reproduction while revealing the relationship between material and image simultaneously. Such a work does not erase fun and illusion given by the image although it escapes from the traditional framework of figurative sculpture. At the same time, it appears that it is maximizing experiences given by various materials. It seems to new alchemistic interests. This is similar to the trends of contemporary painting. In the current art world largely dominated by hyperrealism and pop-like works, interests in images and reproduction are interlocked with production of materials. As for me, such a tendency seems to appear in both painting and sculpture.
Song Yong Won’s works are to make a specific shape using wire and thread. It resembles a painting act of drawing in an empty space. The painting, of course, exists dimensionally in a space. But, it consists of a numerous number of lines rather than materials with mass or volume. Line is painting element, and the line here approaches to me as a special material while swimming the space and being accumulated. Of course, it is a mass with holes. So eyeing penetrates into material. It gets out of the shape far away. Eyeing cannot sit in the surface of material and gradually escapes the holes, thus hitting the wall. Moreover, the sculpture composed of lines only is too light and variable. Lines accompany time and illuminates the whole process of work relatively transparently. The arduous process of welding wires with black threads is a work that shows a boundless time passage.
It is sometimes suggestive of the traces that are made by the accumulation of dust and soot. The shapes that he made are human shapes showing bones only without flesh, horse, deer, dog, and bird. These things are too realistically manufactured and they are installed as if they were in good harmony in a real space. They sit on a chair indoor or exist in a wall. But the existences accumulated with black lines seem to show a shadow play. They seem to be closer to illusion although consisted of specific materials. Dark black brings these materials into paintings on a plane. The drawings drawn by charcoal or conte look like pictures, but looking closely, a three-dimensional structure tangled with a number of thread and wire. They are pictures drawn in a space and three-dimensional. They are lines and materials. They are also real things and approach to us like an illusion. They indicate specific things, but at the same time, the surface loses specificity and it seems to be rubbed with heavy and dark materials and flat colors. Therefore, this work is ambiguous in the boundary between painting and sculpture and between specificity and abstraction. It is mass and line. It is picture and sculpture. It is a real thing, but close to illusion. And these things produce a pantomime-like situation in a particular space. The individual existences do not have a special meaning and instead, they are connected each other, thus forming a context or operating its own epic.
“My work is to express ‘world of dream,’ combination of unconsciousness and consciousness stemming from my psychological state. In , both the human and dog with inside and outside disintegrated are playing a mediating role in connecting the worlds of spirit and in drawing series, an island that is floating in the world beyond the invisible wall is embodied.”(Artist’s Note)
This is why the artist’s work is based on the motif of the scene that he dreamt the previous day. The image sometimes exists and other times non-exists. He records the scene that he saw in his dream in the morn-ing and based on the drawing, produces a particular scene. It does not simply stay at the reproduction of the scene that he had saw in his dream, but asks us of ‘what the world of dream that he dreamt in the un-conscious state is?.’ At the same time, it is closer to the explanation of unconsciousness, unknown emotion laid on the floor. The artist’s works are to draw dreamlike images of the dream he dreamt recently and based on these, process various objets and represent formative things. However, the images he saw in his dreams or the scenes that anyone saw in their dreams are ambiguous and blurred rather than being clear. Therefore, it is difficult to try to embody them. It is the state that is difficult to say that it exists or that it does not exist. It is flexibility between existence and illusion. In the end, it is the state like a dark and smoky fog. So he shows a shape colored with black like a shadow. Collision, conflicts, and anxiety between what are exactly remembered and the things that are floating inaccurately are combined in a complex way. This is why numberous spinning, tangling, and overlapping are added. So it comes out as a work that projects his psychological situation that is difficult to be described what it is. What all arts aim to embody ultimately will be opacity, ambiguousness, and strangeness.

Keywords: black, sculpture, black thread, stitching, black leopard, contemporary art, animal, glue, leopard, modern

Subjects: Animal

Styles: Conceptual, Modern, Fine Art

Mediums: Metal, Steel

Artist Recognition

Artist featured in a collection Artist featured by Saatchi Art in a collection

Comments (0)