細節
李桓權
《醬油罐》系列 (爸媽) — 顏色

強化玻璃纖維 雕塑 (共兩件)
版數:4/5
2008年作

展覽
2008年12月1-31日「A Family」貞洞劇場 首爾 韓國 (展品為另一版數)
2009年6月19日-7月16日「Logic of Sensibility」Interalia藝術公司 首爾 韓國 (展品為另一尺寸版本)
2009年6月24日-7月17日「Shared Illusion-李桓權」CAIS畫廊 首爾 韓國

出版
2009年《Shared Illusion 李桓權》CAIS畫廊 首爾 韓國 (圖版,第34頁)
2009年 《Scenes from Memory: 李桓權》首爾拍賣 香港 (圖版為另一版數,第35頁)
2010年《韓國之眼︰當代韓國藝術》Skira 米蘭 意大利 (圖版,無頁數)

%I「我會說我的作品是視覺世代的雕塑。假如我們能喚醒對過往經歷的主觀記憶,就像小時候看哈哈鏡一樣,我相信那些扭曲了的影像將會很接近自我。」%i

李桓權透過將事物變形、改變知覺與外觀比例來扭曲物質現實,提醒了我們影像是媒體為觀眾塑造的。他的前作大都是從垂直的方向延伸,以產生異化、疏離的效果,新作卻轉向拉闊壓扁。《醬油罐》系列都緊貼地面,腳踏實地,令人覺得和藹可親,帶出了家庭的溫暖。《醬油罐》系列(爸媽)-顏色 (Lot 1302)代表了一個三代同堂家庭的中間代,李桓權把他們壓縮成韓國傳統陶土醬油罐的形狀,營造出親切的人性化感覺。他又利用橫向壓縮的反射面,邀請觀眾和雕塑玩遊戲,讓他們自己上下左右地在哈哈鏡表面尋找自己的趣怪表情,令這作品更顯友善。它們挑起了一種新時空的視覺經驗,雖然眼睛會自動搜索熟悉的人和物,然而感覺卻很陌生,讓我們不得不重整自己的知覺預測。李桓權反覆參考寬銀幕電影與虛擬現實的場景,同步挑戰觀眾的理解力和知覺,讓他的雕塑呈現出一個平衡宇宙,在這空間裡,肉眼所見和知覺協調都是被荒謬地扭曲的。他這些來自夢幻世界的作品融入了對現有環境的關切,並且發掘出人類與大地、自然與人工、幻想與現實之間的全新互動關係。
出版
CAIS Gallery, Shared Illusion - Hwan Kwon Yi, exh. cat., Seoul, Korea, 2009 (illustrated, p. 34).
Seoul Auction, Scenes from Memory: Yi Hwan Kwon, exh. cat., Hong Kong, 2009 (different edition illustrated, p. 35).
Skira, Korea Eye: Contemporary Korean Art, Milan, Italy, 2010 (illustrated, unpaged).
展覽
Seoul, Korea, Chongdong Theater, A Family, 1-31 December 2008 (different edition exhibited).
Seoul, Korea, Interalia Art Company, Logic of Sensibility, 19 June-16 July 2009. (different sized version exhibited).
Seoul, Korea, CAIS Gallery, Shared Illusion - Hwan Kwon Yi, 24 June-17 July 2009.
拍場告示
Please note this work is additionally inscribed, numbered and signed on the reverse of both works.

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拍品專文

"I can say that my works are sculptures of a visual era. If we could bring to life the distorted imagery of our past experiences, like reflections from the convex mirrors of our youth, I believe that those ideas would look a lot like my self."

Yi skews the physical reality by disturbing the perception and perspective through distorted forms that remind us of images re-created for us by the media. His previous works were typically sculpted in perpendicular extension to elicit a sense of alienation and isolation, whereas his new endeavors of outstretched and flattened shapes, sturdily grounded by gravity, educe amiability and warmth. Attributable to the circle of family of Jangdokdae series, a part of a of family of three generation, Jangdockdae Father and Mother-colour (Lot 1302) is compressed in parallel form of a Korean traditional earthen jar Jangdokdae to deliberately impose a sense of endearing humanism. Such amity and intimacy is further accentuated as Yi employs an anamorphic perspective, playfully requesting the viewers to adjust their stance to configure the convex exaggeration of their facial features. The sculptures provoke a visual experience in space and time, where our eyes seem to navigate familiar objects and people only for the first time, and our predicated perception must freshly adjust. Challenging both the intellect and the senses with his repeated references to widescreen films and virtual reality, Yi's sculptures display a parallel universe where ocular reality and perceptual accords of conformity are absurdly bended. Yi's coveted works hold an innate consideration of the existing environment, and at the same time, emphasize the discovery of new interactive relationship between human and land, natural and artificial, illusion and reality.

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