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The position and the boundaries of art seem ineffably vague. Art already has its stage in all industries, including science and technology; it also takes lead in culture and claims innovation in each area and so on. This society does not call for one area controlling another but instead, in the world of perfect competition, every area influences each other by co-developing and coordinating. (* My work was inspired by these complex “intersections” in synapses)

In thinking about the human body which is the main form in the artwork, the goal is to reflect the life of the artist as specifically as possible. Although the motif of the form certainly uses ancient sculptures and paintings for its model, they are not much different from modern man. It is not that human beings themselves have changed but that the surrounding environment and cultural elements have significantly changed. Whether ancient man or modern man, I don't think their basic desires or inner worlds are much different. The forms that the artist expressed were dried, cut, and is also disappearing in order to manifest the inner conflict and frivolity of existence. In addition, the shape of the frame presents the limit in boundaries, but it also is an attempt to show infinite expansion. Thus, I believed that the branches the works make in the space, the blank space, could expand infinitely. Instead of simply interpreting sculpture as cubic, I attempted to give a change and let the three dimension quality begin, not on a flat surface of a thin, light, porous structure on a blocked wall, but in a space that can be imagined.

The more you are enchanted with the beauty of the body, the more possibilities you are given. Phenomenological approaches save complicated processes to get access to the essence and origin of the body, when attempting philosophical contemplations towards it. In other words, the body is close to the phenomenological existence of Chiasme which undertakes interactions with the world in relevance to situation and space, instead of existing as an object made of pure consciousness or material.

The work method started with welding and ended with welding. The simple meaning of welding is to combine the copy of a metallic property by melting it with another. What I focused on was not in using it exactly as it says in the manual. I wanted to resolve everything as ways of having fun. That is why no such processes such as casting or molding, which are standardized methods in metal body sculpture, are used. I work only by myself, only dependent on my welding torch. I considered the torch as my other hand and tried to surpass the limitations of the manual. I ignored the output level and the proper method of use, only wanting to play with it. Thus, this other hand became various tools that could melt, pare, adhere, and scrape off and color-coat. This was because it was the only way that I could think of to "live" and not "exist." Ultimately, within the culture and system, we try to find a sense of self-regard while living in the glittering world that someone other than myself has provided, but this was the only way to leave a trace of my life. Although my existing being may disappear, it's the only way of "living" instead of "existing" as myself. I came to express this current work in order to find my own entity.
The position and the boundaries of art seem ineffably vague. Art already has its stage in all industries, including science and technology; it also takes lead in culture and claims innovation in each area and so on. This society does not call for one area controlling another but instead, in the world of perfect competition, every area influences each other by co-developing and coordinating. (* My work was inspired by these complex “intersections” in synapses)

In thinking about the human body which is the main form in the artwork, the goal is to reflect the life of the artist as specifically as possible. Although the motif of the form certainly uses ancient sculptures and paintings for its model, they are not much different from modern man. It is not that human beings themselves have changed but that the surrounding environment and cultural elements have significantly changed. Whether ancient man or modern man, I don't think their basic desires or inner worlds are much different. The forms that the artist expressed were dried, cut, and is also disappearing in order to manifest the inner conflict and frivolity of existence. In addition, the shape of the frame presents the limit in boundaries, but it also is an attempt to show infinite expansion. Thus, I believed that the branches the works make in the space, the blank space, could expand infinitely. Instead of simply interpreting sculpture as cubic, I attempted to give a change and let the three dimension quality begin, not on a flat surface of a thin, light, porous structure on a blocked wall, but in a space that can be imagined.

The more you are enchanted with the beauty of the body, the more possibilities you are given. Phenomenological approaches save complicated processes to get access to the essence and origin of the body, when attempting philosophical contemplations towards it. In other words, the body is close to the phenomenological existence of Chiasme which undertakes interactions with the world in relevance to situation and space, instead of existing as an object made of pure consciousness or material.

The work method started with welding and ended with welding. The simple meaning of welding is to combine the copy of a metallic property by melting it with another. What I focused on was not in using it exactly as it says in the manual. I wanted to resolve everything as ways of having fun. That is why no such processes such as casting or molding, which are standardized methods in metal body sculpture, are used. I work only by myself, only dependent on my welding torch. I considered the torch as my other hand and tried to surpass the limitations of the manual. I ignored the output level and the proper method of use, only wanting to play with it. Thus, this other hand became various tools that could melt, pare, adhere, and scrape off and color-coat. This was because it was the only way that I could think of to "live" and not "exist." Ultimately, within the culture and system, we try to find a sense of self-regard while living in the glittering world that someone other than myself has provided, but this was the only way to leave a trace of my life. Although my existing being may disappear, it's the only way of "living" instead of "existing" as myself. I came to express this current work in order to find my own entity.
The position and the boundaries of art seem ineffably vague. Art already has its stage in all industries, including science and technology; it also takes lead in culture and claims innovation in each area and so on. This society does not call for one area controlling another but instead, in the world of perfect competition, every area influences each other by co-developing and coordinating. (* My work was inspired by these complex “intersections” in synapses)

In thinking about the human body which is the main form in the artwork, the goal is to reflect the life of the artist as specifically as possible. Although the motif of the form certainly uses ancient sculptures and paintings for its model, they are not much different from modern man. It is not that human beings themselves have changed but that the surrounding environment and cultural elements have significantly changed. Whether ancient man or modern man, I don't think their basic desires or inner worlds are much different. The forms that the artist expressed were dried, cut, and is also disappearing in order to manifest the inner conflict and frivolity of existence. In addition, the shape of the frame presents the limit in boundaries, but it also is an attempt to show infinite expansion. Thus, I believed that the branches the works make in the space, the blank space, could expand infinitely. Instead of simply interpreting sculpture as cubic, I attempted to give a change and let the three dimension quality begin, not on a flat surface of a thin, light, porous structure on a blocked wall, but in a space that can be imagined.

The more you are enchanted with the beauty of the body, the more possibilities you are given. Phenomenological approaches save complicated processes to get access to the essence and origin of the body, when attempting philosophical contemplations towards it. In other words, the body is close to the phenomenological existence of Chiasme which undertakes interactions with the world in relevance to situation and space, instead of existing as an object made of pure consciousness or material.

The work method started with welding and ended with welding. The simple meaning of welding is to combine the copy of a metallic property by melting it with another. What I focused on was not in using it exactly as it says in the manual. I wanted to resolve everything as ways of having fun. That is why no such processes such as casting or molding, which are standardized methods in metal body sculpture, are used. I work only by myself, only dependent on my welding torch. I considered the torch as my other hand and tried to surpass the limitations of the manual. I ignored the output level and the proper method of use, only wanting to play with it. Thus, this other hand became various tools that could melt, pare, adhere, and scrape off and color-coat. This was because it was the only way that I could think of to "live" and not "exist." Ultimately, within the culture and system, we try to find a sense of self-regard while living in the glittering world that someone other than myself has provided, but this was the only way to leave a trace of my life. Although my existing being may disappear, it's the only way of "living" instead of "existing" as myself. I came to express this current work in order to find my own entity.
The position and the boundaries of art seem ineffably vague. Art already has its stage in all industries, including science and technology; it also takes lead in culture and claims innovation in each area and so on. This society does not call for one area controlling another but instead, in the world of perfect competition, every area influences each other by co-developing and coordinating. (* My work was inspired by these complex “intersections” in synapses)

In thinking about the human body which is the main form in the artwork, the goal is to reflect the life of the artist as specifically as possible. Although the motif of the form certainly uses ancient sculptures and paintings for its model, they are not much different from modern man. It is not that human beings themselves have changed but that the surrounding environment and cultural elements have significantly changed. Whether ancient man or modern man, I don't think their basic desires or inner worlds are much different. The forms that the artist expressed were dried, cut, and is also disappearing in order to manifest the inner conflict and frivolity of existence. In addition, the shape of the frame presents the limit in boundaries, but it also is an attempt to show infinite expansion. Thus, I believed that the branches the works make in the space, the blank space, could expand infinitely. Instead of simply interpreting sculpture as cubic, I attempted to give a change and let the three dimension quality begin, not on a flat surface of a thin, light, porous structure on a blocked wall, but in a space that can be imagined.

The more you are enchanted with the beauty of the body, the more possibilities you are given. Phenomenological approaches save complicated processes to get access to the essence and origin of the body, when attempting philosophical contemplations towards it. In other words, the body is close to the phenomenological existence of Chiasme which undertakes interactions with the world in relevance to situation and space, instead of existing as an object made of pure consciousness or material.

The work method started with welding and ended with welding. The simple meaning of welding is to combine the copy of a metallic property by melting it with another. What I focused on was not in using it exactly as it says in the manual. I wanted to resolve everything as ways of having fun. That is why no such processes such as casting or molding, which are standardized methods in metal body sculpture, are used. I work only by myself, only dependent on my welding torch. I considered the torch as my other hand and tried to surpass the limitations of the manual. I ignored the output level and the proper method of use, only wanting to play with it. Thus, this other hand became various tools that could melt, pare, adhere, and scrape off and color-coat. This was because it was the only way that I could think of to "live" and not "exist." Ultimately, within the culture and system, we try to find a sense of self-regard while living in the glittering world that someone other than myself has provided, but this was the only way to leave a trace of my life. Although my existing being may disappear, it's the only way of "living" instead of "existing" as myself. I came to express this current work in order to find my own entity.
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Chiasme 17 (Solaris)
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Chiasme 17 (Solaris) Sculpture

Seong-Gu Lee

South Korea

Sculpture, Metal on Bronze

Size: 66.9 W x 90.2 H x 25.6 D in

This artwork is not for sale.
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About The Artwork

The position and the boundaries of art seem ineffably vague. Art already has its stage in all industries, including science and technology; it also takes lead in culture and claims innovation in each area and so on. This society does not call for one area controlling another but instead, in the world of perfect competition, every area influences each other by co-developing and coordinating. (* My work was inspired by these complex “intersections” in synapses) In thinking about the human body which is the main form in the artwork, the goal is to reflect the life of the artist as specifically as possible. Although the motif of the form certainly uses ancient sculptures and paintings for its model, they are not much different from modern man. It is not that human beings themselves have changed but that the surrounding environment and cultural elements have significantly changed. Whether ancient man or modern man, I don't think their basic desires or inner worlds are much different. The forms that the artist expressed were dried, cut, and is also disappearing in order to manifest the inner conflict and frivolity of existence. In addition, the shape of the frame presents the limit in boundaries, but it also is an attempt to show infinite expansion. Thus, I believed that the branches the works make in the space, the blank space, could expand infinitely. Instead of simply interpreting sculpture as cubic, I attempted to give a change and let the three dimension quality begin, not on a flat surface of a thin, light, porous structure on a blocked wall, but in a space that can be imagined. The more you are enchanted with the beauty of the body, the more possibilities you are given. Phenomenological approaches save complicated processes to get access to the essence and origin of the body, when attempting philosophical contemplations towards it. In other words, the body is close to the phenomenological existence of Chiasme which undertakes interactions with the world in relevance to situation and space, instead of existing as an object made of pure consciousness or material. The work method started with welding and ended with welding. The simple meaning of welding is to combine the copy of a metallic property by melting it with another. What I focused on was not in using it exactly as it says in the manual. I wanted to resolve everything as ways of having fun. That is why no such processes such as casting or molding, which are standardized methods in metal body sculpture, are used. I work only by myself, only dependent on my welding torch. I considered the torch as my other hand and tried to surpass the limitations of the manual. I ignored the output level and the proper method of use, only wanting to play with it. Thus, this other hand became various tools that could melt, pare, adhere, and scrape off and color-coat. This was because it was the only way that I could think of to "live" and not "exist." Ultimately, within the culture and system, we try to find a sense of self-regard while living in the glittering world that someone other than myself has provided, but this was the only way to leave a trace of my life. Although my existing being may disappear, it's the only way of "living" instead of "existing" as myself. I came to express this current work in order to find my own entity.

Details & Dimensions

Sculpture:Metal on Bronze

Original:One-of-a-kind Artwork

Size:66.9 W x 90.2 H x 25.6 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Born in 1984, Incheon, Korea

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