The Paradox of Illusion - Park Seung Mo

The paradoxof illusion

Park Seung Mo

The paradox of illusion

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as if emerging from the depths of serene dark-ness itself, the face of Maya, the illusion, both overwhelms and surrenders to perception. Be-yond what is so indisputably tangible, is where the mirage lies- speaking through its reality into an ethereal consciousness that forms a paradox, culminating into a weightless existence. The art of park seung Mo is not installation, it is not sculpture, it is not portraiture; it is an exposition on consciousness, a critique of reality and most of all, a discourse on the meaning of the self itself- churning existence into a haze of wired ambiguity. here is where skill meets the elusive crossroad of conceptual- where does meaning begin and aes-thetic end? Where does the reading start and the understanding close?

it is all, of course, a matter of perspective. as park seung Mo tells us, the real question us- what is Maya and what is not?

Taken from the sanskrit language, ‘Maya’ is close-ly translated to ‘illusion’. far transcending simple tricks of the visual trade, this series by the Korean born artist is a coalition of multiple inspirations. Greatly influenced by his time in india, the artist’s first series of works were that of figurative ano-nymity, questioning the self and the absence of identity. eventually, however, the artist began to give his works names, based on the models be-hind the faces, studying the influence and extent of identity when present. ‘Maya’ is the third part of his wire mesh excursions, where the artist hunt-ed for a model that resembled a woman he once met in his dreams, and consequently turned into an art series that explores what may constitute consciousness. Was his dream any less reality than the present? or to delve further, was it his con-sciousness or another?

such conceptual lengths can be seen in his com-position of the works, where he puts together

layers of wire mesh that have been strategically clipped and placed together, illuminated by light to exhibit its transience. almost as a form of med-itation, the artist meticulously cuts layer through layer, with each tiny cut forming an element to the depth that ultimately emerges from the image as a whole. ‘illusion’ here, then, carries far more connotations than just one. it applies to both his physical composition and process, as well as the ideation that brought it to fruition. The overall effect, regardless of conceptual understanding, is aesthetically stunning, with the artist skilfully putting together light and shadow to form a mul-ti-layered visual experience that transcends the composing material into a hyper realistic sensory display.

although the art of park seung Mo may contain complex metaphors, and incite deep conceptual readings, the interesting contrast is the calm ethe-real aura it emanates. Just as the artist himself res-onates a serenity of thought, so does his art speak clarity in its visuals. The art is transportive, taking with it the attention and constructed conventions of all who view it. he displays to us a memory of a dream, and yet, the longing contained within it, the sense and question of self- remains indelibly universal. it heartens me to observe that although most certainly unique and demanding of atten-tion as his art is, it is one that is embodied with meaning, thought, and aesthetics that cross far beyond just aesthetics. it is with this belief that i now proudly present to you the art of park seung Mo; not simply as a display, but as a journey of questioning, exploration and of course, percep-tion, across the conceptual intricacies that form the depth to our very own illusions of thought.

— Jazz ChongDirector, Ode to Art

foreWord

Park Seung Mo

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My memory of his works traces back to a grand piano tied up by wire. Wrapping a specific object makes me bring ‘Christo Vladimirov Javacheff ’ to mind. What earthworker Christo wrapped pont-neuf in paris or the Capitol in Berlin has some-thing in common with what park tied up the grand piano. it is because the identity of the wrapped object was changed. also, the wrapped objects lost their essential functions. of course, things wrapped by Christo are not limited to buildings. one day, he exhibited a calculating machine wrapped by using plastic sheets and strings. Be-fore then, Marcel duchamp concealed an object by using the cover of a typewriter. The cover, on which a logotype ‘underwood’ is clearly marked, gives words to the inside thing, but holds back the object. Man ray also wrapped objects, using cloth and strings. he wrapped mass-produced products by using soft materials. in result, they lost their functions but their basic forms strongly refuse to disappear. and so is the grand piano tied up by park. its form became insignificantas it is tied up by thick wire but its essence did not disap-pear. To be specific, it makes the original vague just like ‘erased de Kooning drawing’ of robert rauschenberg. The grand piano, tied up by thick wire, seems a piano due to its outline but it cannot function as a piano anymore and so it looks like a cocoon. in this context, it makes a difference between what duchamp or Christo wrapped what park tied up.

in park’s work, thick wire tiding up the object stretches from the central point with a regular course. Wire ties up the object at regular inter-vals, along the course. The trace of wire is a fin-gerprint on the surface, and is the texture leading eyes. duchamp’s typewriter cover makes viewers infer the inside object, but does not show it. on the other hand, Christo’s typewriter is well shown

as it is wrapped by a transparent sheet. specifi-cally, duchamp’s cover makes viewers infer it but Christo’s typewriter presents it. parks’grand piano is not presentation as well as inference. it is the tied object itself and also it is a big mass of which significance was newly given by the artist. simul-taneously, as above mentioned, it is a big cocoon. Whether it is a grand piano or not granted that it is a contrabass, a saxophone or a rocking chair it is nothing more than an exhibited thing that is useless. But at the same time, its outline well shows its identity. it is associated with a ghost who wanders about a specific object without leaving it. aluminum is a factor that makes the object strange due to its neutral and impersonal charac-teristics. furthermore, the solidity of wire makes viewers have an impression that it was produced so to begin with rather than was tied up by wire. paradoxically, such characteristics make viewer-shave a hunch that he might attempt to re-create the object by using wire. its clear outline is associ-ated with re-creation but what he tied up it is not related to re-creation. Contrarily he erased desire for re-creation in order that the identity of the object might be vague, and therefore it is charac-terized by firmness as well as vagueness just like ‘erased de Kooning drawing’.

park’s past works were focused on newly giving the existential significances of objects as masses, by depriving them of their functionality. But on the other hand, in recent times his works have fo-cused on the human body with literality and obsti-nacy. particularly, a fashion model was mocked up. in order to make the work, he conducted lifecast-ing on about 100 real-life characters, and tied up such models by wire. such a work is being carried out even up to now. What he personally sculp-tures so many characters seems to be an incau-tious plan, but let alone such works, he remakes

a finGerprinT of TiMe

Choi Tae-Man, arT CriTiC


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such patterns with aluminum or copper wire. it may be understood that he struggles with time or overlabor himself. actually, he already finished several works by re-covering wire on polycoats. such works show that he outgrew his former self that ties up objects and masses them. a strong desire for re-creation is reflected in this sculpture, and so the reality of the object outstrips the prop-erties of the material even though it was tied up by wire. The outline was expressed in detail by thin wire. as the result, literality was showed off but esthetical consideration was gotten behind. it does not mean that such works are not esthetical. The mold, coiled by wire without reconstruction, deformation and distortion, well shows up tac-tility. namely, the surface, whose properties are clearly brought into relief by light collision and reflection, incites viewers to feel its tactility.

Through the process that ties up the surface of a mock-up with wire, i set my mind back to egypt’s funeral culture that covers a gold mask on a mum-my. The gold mask symbolizes the position of the dead, but at the same time, it is to prevent pu-trefaction. park’s figures evoke a mystiquethrough stopped time and the permanence of a moment. however, his figures are independent objects even though they were molded on real-life characters. upon being wrapped by wire, the personality of his works disappear, but instead, their anonymities become prominent the same as each individual is not important in George seagal’s works molded on real-life characters; even though it has many evidences for specific characters. such charac-teristics may be similar to fashion models. each model is very important for the designer and also some few of the audience take an interest in models. even if it were so, models should not be brought into relief in a fashion show. otherwise, it may be an obstacle to understanding works. View-

ers had better focus the creativity of the work, not the real-life model. This work, in which even the softness of the dress was expressed in detail, pri-marily shows up skillful re-creation. But silence, in which consumed time was coagulated, is beyond re-creation. This work, containing the traces of a long time, mysteries that cannot be puzzled out by our observation, excessive and repeated la-bors, and something else, has unique beauty that cannot be realized by other materials. in a word, wire can function as the fingerprint of time even in works molded on real-life characters.

The work is realistic, mysterious and imperson-al, but at the same time, have close texture just like a mannequin. it is not difficult for viewers to read the passion and simple honesty in his works. i heard that he went to india when he was a univer-sity student and he spent several years in mediat-ing. Granted that his experience was not imme-diately reflected in his works, his modest attitude to labor shows that excessive labor smoothes our ruffled feathers. it is within bounds to say that his re-creation through works, molded on 100 re-al-life characters and were wrapped by wire, are associated with the mortification of an ascetic.

Park Seung Mo

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MaYa lee JaehYo

stainless steel wire mesh


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Park Seung Mo

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MaYa MonaliZa

stainless steel 920 x 1070mm, 2011

Park Seung Mo

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MaYa413.2012

stainless steel mesh141 x 22.5 x 267cm


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Park Seung Mo

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MaYa813,2011

stainless steel wire mesh171 x 30 x 171cm


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MaYa6469.2011


Park Seung Mo

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MaYa2444

stainless steel mesh114 x 23 x 152.5cm, 2014


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Park Seung Mo

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MaYa 434.2012


Park Seung Mo

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MaYa 607,2011



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Park Seung Mo

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MaYa3004

stainless steel wire mesh2150 x 30 x 2050mm


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MaYa7624,2013


Park Seung Mo

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MaYa762,2012

stainless steel wire mesh160 x 95cm


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MaYa1618, 2012


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MaYa973,2011



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Park Seung Mo

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previous page

MaYa5007,2013

stainless steel wire mesh220.5 x 9.5 x 158cm


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MaYa846,2011


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MaYa879, 2012


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alBerT einsTein

stainless steel wire mesh865 x 150 x 965mm, 2014


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Gandhi


Park Seung Mo

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lee Kuan YeW



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lee Kuan YeW


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porTraiT WiTh BandaGed ear and pipe

stainless steel wire mesh145 x 161cm, 2014


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Theresa

stainless steel wire mesh905 x 135 x 905mm

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MaYa1146



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MaYa7200, 2011



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MaYa7265,2013



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MaYa8460,2013

stainless steel wire mesh215.5 x 10.1 x 128.5cm

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MaYa7343,2013

stainless steel wire mesh160.5 x 49 x 229.5cm

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MaYa9782



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MaYa7655.2013



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MaYa9208,2013

stainless steel wire mesh140 x 36 x 271.5cm


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MaYa9273



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MaYa7657,2012

stainless steel wire mesh234 x 16.5 x 178cm

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seleCTed solo exhiBiTions

2015paradox of ilusion , sinGapore, arTsTaGe ode To arT

2014dennos MuseuM CenTer, TraVerse CiTY, usa

hada ConTeMporarY GallerY, london, enGland

2013 naMpo arT MuseuM, Korea

arTissu GallerY,Taipei,TaiWan

2012 Bundo GallerY, daeGu,Korea

hada ConTeMporarY GallerY, london, enGland BlanK spaCe GallerY, neWYorK

Kips GallerY, neWYorKloTTe GallerY, Busan, Koreadosi GallerY, Busan, Korea

2011 aBsinThe GallerY,Korea

2010 eVer harVesT arT GallerY, Taipei, TaiWan

2008 GallerY arTside, seoul, Korea

2005 GallerY arTside, seoul, Korea

seleCTed Group exhiBiTions

2014

K-p.o.p(Korean proCess oTherness plaY), MoCa, Taipei, TaiWan

2013

honG sunGChul,parK seunGMo, hada ConTeMporarY, london sCope MiaMi, MaiaMi

Bos2013,neWYorK


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G-seoul inTernaTional arT fair, seoul, Korea

2012 Bos2012

solid illusion,hanGaraM arT MuseuM, seoul arT CenTer, Korea sCope MiaMi

Kiaf, Coex, KoreaJin.TonG, GWanGJu MuseuM of arT, Korea

Korean eYe ,fairMonT Bar al Bahr, aBu dhaBiCiGe ,BeiJinG, China

Korean arT shoW, neWYorK,nY

2011 aha! MoMenT, hanGaraM arT MuseuM, seoul arT CenTer, Korea

Korean eYe ,MueuM of arTs and desiGn ,neW YorK,nY Korean eYe ,The naTional asseMBlY, Korea

2010 arT Taipei ,Taipei, TaiWan

2009 Korean eYe Moon GeneraTion (phillips de purY, CoMpanY spaCe aT

The saaTChi GallerY, london,enGland Korean aesTheTiCs ,alBeMarle GallerY, london,enGland

lodon arT fair, lodon, enGlan

2008 alBeMarle suMMer shoW, alBeMarle GallerY, london, enGland

Korea noW, arTlinK, soTherBY’s, israelBeiJinG arT fair, BeiJinG, China

Kiaf2008 (Korean inTernaTional arT fair),Coex, seoul, Korea

2007 CiGe, BeiJinG, China

lines in spaCe, KYunGGido MuseuM, KYunGGi, KoreaaCaf, neW YorK,nY


shanGhai arT fair, shanGhai, China


2000 nandan arTs fesTiVal, KolKaTa, india


parK seunG Mo

first published 2015

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The Paradox of Illusion - Park Seung Mo