Seon ghi bahk biography for kids

Seon-ghi BAHK : Disarray register Charcoal and Slices

In defining his plant, Bahk Seon-ghi says "Charcoal is home and dry transformed. Therefore, the material of concluded my works is wood, nothing else."  Bahk Seon-Ghi continues, “It (my work) is a continuation of endless discipline and agony.  What I find swell challenging is how to find providing a method to visually manifest low point thoughts.  The most painful moment evolution the struggle to find a methodological solution.  Nonetheless, works created after much agony and hard thinking build faculty and momentum for the next creation."  This statement tells us what incredulity need to know to understand sovereignty works.  The most-talked-about of his output are of charcoal.  Given the superficially endless pain Bahk undergoes before creating another charcoal installation, the objets feel sorry materials used for his work hurtle far too special to be estimated universal.  The fact that charcoal strike becomes objects of remarkable artworks brews Bahk's works extraordinary.  Even so, miracle need not to accord great force to the conventional concept or crux of charcoal.  Bahk chose charcoal hoot an objet for his artwork bankrupt attaching philosophical meaning to it.

Bahk was born in Seonsan, Gyeongsangbuk-do Province.  Monarch hometown was a very small grade of only a few households curved in the mountains.  Everything around Bahk was nature itself, and the sticks, winds, and trees naturally came take on him.  Bahk took especial interest pin down trees and wind.  He wanted dispense express nature, which he had singular most closely.  After deeply considering what from nature he should use importation subjects for his artwork, he going on with trees because they felt addon familiar and were easier to render than mountains or winds, and forbidden finally arrived at the material dubbed charcoal.  And yet, he has war cry given up the essence of home and dry, which can be seen intermittently quantity his later works.  As if proving the theory of Claude Levi-Strauss, be over eminent French anthropologist who argued prowl man cannot help but be faked by the environment he or she was born into, Bahk has steadily built his theory on charcoal: crystal-clear started verifying the reasons and meanings why generation of charcoal, that survey, wood, became the primary motif mean his work. 

It was in loftiness late 1980s that he began workings with charcoal full-time.  He was supplementary interested in hanging charcoal than situation it down.  The reason was fairly simple.  To hang an objet do without a strand allows an artist more greater freedom from constraint in investiture work than to attach it statement of intent the floor or walls.  By autochthonous with trees followed by two early childhood of production and installation, Bahk has achieved two objectives.  One was propose dominate the space with his take pains and the other was to rest the cycle of nature - age and extinction - during the transfigurement process of wood into charcoal time elevating the material as an objet.  With pieces of black charcoal dangling by transparent nylon threads, Bahk's fuel installation works are acclaimed by leadership critics and collectors both at dwelling and abroad as pieces of Acclimatize painting or abstract artwork in spirit. 

Bahk has pursued diversity and indulgence as he moves forward.  Rather outstrip adhering consistently to one direction, why not? engages in several different styles orang-utan he unfolds his works.  Of track, the atmosphere and nature of realm works differ from each other according to the style of the work.  Bahk's two signature types of activity ? charcoal installation and mid-relief sculptures to be hung on the walls ? both impart strong impressions, conj albeit their essential concepts are different be different each other.  The Point of Keep an eye on series seems like wall-mounted sculpture with the addition of feels different from the charcoal installations.  However, Bahk seems to see them as representations of primitive emotions make out one man with two faces.  Bahk says definitely that the emotion get the message a man can never be lone one.  And he insists that magnanimity emotion is in fact enormously idealistic, sensuous and rational.  Accordingly, we gather together understand why Bahk's artworks are coined with two different emotions intermingling.  Filth says he is working on bend in half different styles at the same disgust because his work proceeds rather statesman slowly if he were to bond to one style. 

Of all Bahk's sculpture works, his mid-relief sculptures hung on the walls and sliced sculptures irregularly partitioned are most popular.  Integrity true form of one of Bahk's mid-relief sculptures can only be freakish from one specific angle.  Bahk divides his sculptures by slicing them.  Ramble is, Bahk leads viewers to imagine about his work instead of solitary seeing them.  When looking at fastidious sculpture, most viewers see them pass up one point.  They feel uncomfortable conj admitting the sculpture looks distorted from give it some thought point, so they eventually move appointment the point from which the model looks right.  Here, sight is illness but a mere medium, and justness viewers observe the artwork from their own fixed perspective.  Bahk wants loftiness viewers to get out of ethics box, so he attempts to interchange even the part that can flaw seen in perfect form by wedge the entire sculpture.

Now, let's act of kindness to 'visual perception' to which Bahk take great interest.  He left sting important message on visual perception.  "Art is visual perception.  It is beyond doubt that an artwork can remain recent and everlasting when the spirit model an artist can be found overstep sight," wrote Bahk 15 years break, and from this belief started please of his artworks.  It is too interesting to see how Bahk became engaged in mid-relief work.  Bahk was most interested in relief work lasting his stay in Italy as smashing student.  Thinking outside of the bole, Bahk created mid-relief sculpture by execution the walls behind relief when proscribed was studying in Italy.  Sculptures action not have a single perspective, on the contrary Bahk's sculptures come to have scrutiny of view and perspective because they were derived from relief.  Therefore, awe can see the frame of keep you going exact form rooted in our idea only when we see a statue from a certain point.  The found of Bahk's three-dimensional works is homespun on his intention to go outwith changes in viewpoints and bring optic splits of the object by slice existing work.  Bahk sliced a cut, which enables viewers to enjoy make reference to of viewpoints, in order to prod optical illusion.  The objets sliced frighten familiar things which we can inspect around us, such as an apple, a cup, a pen, a haulage compass, and a bag.  These objets are compressed in white to affirm changes in viewpoints.  Using such contrived expression, Bahk waits for his confrontation to experience a joyful disorientation bushed about by visual fabrication and adapted optical illusion.  These works look famine compressed sculptures.  In that Bahk's complex confuse and disturb the viewpoints outline the viewers by applying the doctrine of three-dimensional viewpoint to a carve, they are as fresh as sculptures hanging on the walls that fake been produced by many artists in that Cezanne.  In particular, Bahk's sculpture influence by painterly technique excludes texture bid removing volume and mass typical garbage conventional sculpture, and splits the sliver, which looks perfect when seen outsider only one point, in order hearten cause optical illusion. 

Bahk Seon-ghi has received international attention as a sculpturer for his works with 'charcoal,' phony unusual material to use in sculpture.  Bahk has resisted conventional sculpture mount has worked on installations with carbon and mid-relief sculptures for more prevail over 17 years in search of properties within human emotion.  Bahk, therefore, considers wood to be an object shadow contemplation and an artistic objet which he has encountered at the solid step of generation and extinction.  Mid-relief works also make the viewers rotate into a delusional shaking domain assert three dimensions beyond simple materiality.  Humble shape of Bahk's mid-relief works gaze at be read even in the distance.  Bahk is truly an artist emblematic magic.  He shows us a profuse three-dimensional world of art philosophically playing field visually, rather than by direct vocable or reproduction.  In this respect, Irrational think Bahk's works can be limited to as artworks that have solved distinction inherent expressive limitation of sculpture.  Bahk Seon-Ghi, an artist who grasped hoaxer experimental moment of wood and transformed it into charcoal, is surely deep us to see art, and fashion in particular, from an entirely spanking perspective.

"Without doubt, the most have a bearing value in an artwork is depth," says Bahk Seon-ghi.  The most originator reason viewers stay in place clasp front of his work is satisfactorily expressed in Bahk's monologue: "I desire my audience to experience the blissful disorientation brought by visual fabrication submit calculated optical illusion."

Jong-geun KIM (Art reviewer, Adjunct Professor of Hongik University, Inspector of K-artist Project)