Bryce Wolkowitz Gallery announces a new
exhibition of works by Korean artist Noh, Sang-Kyoon.
Flashing
with iridescence, reminiscent of digital codes, the canvases and
sculptures produced by Korean artist Noh, Sang Kyoon are covered with
thousands of sequins that he threads together by hand. His technique,
which he developed while studying at Pratt Institute in 1992, lies at
the core of his work. The patient and repetitive act of attaching the
sequins one by one lends significance to the creative process itself,
yet is rooted in popular arts. Through this practice, he manages to
elevate everyday objects to the meditative realm.
Noh,
Sang-Kyoon's work was featured in the Korean Pavilion at the 48th Venice
Biennale in 1999, and this exhibition will be his first in New York
since 1994. The exhibition includes earlier pieces from his work such as
Fish Series, 1992, and For the Lip Readers, 1998, a striking image of a
monolithic mouth-like form.
In Another End (Matted Blue), 1997,
the pattern that results from Noh's treatment of the surface transforms
the canvas into an expanding phenomenon; a giant spiral that sparkles
in the same way a tiny gem would. Also on view will be For the
Worshipers (2001-03) which consists of several sculptures of Buddha's
heads covered in colored sequins, as well as Buddha Mask (2003) and
Jesus Mask (2003).
Inherent to Noh, Sang-Kyoon's work is the idea
of dichotomy. Fluid shifts within dualities such as
microcosm/macrocosm, containment/expansion, secular/religious produce
aggregate and layered meanings. They collect about the work, not unlike
the regenerative spiraling of the sequins themselves.