The application of bright colors and kitsch materials in Flower Tree manifests a playful comment on the influence of popular culture and urban lifestyle. And though his works share a similar sensibility to Claes Oldenburg’s oversized sculptures from everyday objects, Choi draws from his immediate surroundings and life experience. Public sculptures with a flower theme are often used to decorate the rapidly urbanized cities in Asia, which are constructed with concrete and steel materials. Ironically, these public sculptures are usually also superficial and made from the same unnatural materials. Thus, while seeming to be a celebration of nature’s beauty and the need for imagination when living in an environment with a diminishing natural aesthetic, Flower Tree embodies the paradox of modern life.
Using a broad range of media and materials including video, moulded plastic, inflatable fabrics, shopping trolleys, real and fake food, lights, wires, and kitsch Korean artifacts, Choi Jeong-Hwa’s practice blurs the boundaries between art, graphic design, industrial design, and architecture. Along with artists such as Bahc Yiso, Beom Kim, and Lee Bul, Choi was part of a generation whose unique and varied practices gave rise to Seoul’s burgeoning art scene in the 1990s. Trained in Korea during a period of rapid modernization and economic growth, Choi’s work acknowledges and internalizes the processes of consumption and the distribution of goods and has resulted in his being recognized as the leader of Korea’s pop art movement. Often infusing his works with a hint of humor, Choi creates monumental installation with everyday objects. His works also touch on issues of accessibility in art and contemporary culture, concepts of individual authorship and originality in art, and they comment on the privileged environment of art institutions and the prized status of artworks amidst a consumer-frenzied world.
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
The Possibility of the Half by Minouk Lim is a two-channel video projection that begins with a mirror image of a weeping woman kneeling on the ground...
With Roca Carbon ( Charcoal Rock , 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
Behind the simplicity and beauty of this untitled photograph of a brilliantly-colored flowerbed by Félix González-Torres are two remarkable stories of love, loss, and resilience...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
The Possibility of the Half by Minouk Lim is a two-channel video projection that begins with a mirror image of a weeping woman kneeling on the ground...
Towhead n’Ganga, enclosed in darkness, lorded over by the sexualized folded high priestless form reflects many of Kelley’s works, in both its compositional and semantic qualities...
To explore the boundaries between artwork and audience, Gimhongsok created a series of sculptural performances in which a person wearing an animal costume poses in the gallery...
Miami Art Week Fairs (Other Than Art Basel) You Should Know advertise donate post your art opening recent articles cities contact about article index podcast main December 2023 "The Best Art In The World" "The Best Art In The World" December 2023 Miami Art Week Fairs (Other Than Art Basel) You Should Know Ki Smith and Sono Kuwayama...
In borrowing and subverting images from popular culture, Sadie Benning exposes the media’s role in constructing false and oppressive stereotypes of women, with regard to gender and sexual identity...
In the installation Our Love is like the Flowers, the Rain, the Sea and the Hours, Martin Boyce uses common elements from public gardens – trees, benches, trashbins– in a game which describes at once a social space and an abstract dream space...
Brian Tolle's startling sculptures are said to be a dialogue between "history and context." His ability to manipulate what appear to be the most stubborn of structures is more than just a clever use of materials such as styrofoam and urethane (as is th case in the top piece, "Eureka.") Tolle forces us to consider our own relationship with the materials around us....
Simpson’s sculptural practice connects architecture, clothing, furniture and the body to explore the functional and sociological roles and the influence of the design and architecture of various cultures and periods in history...