THE OBSERVATION OF THE METAMORPHOSIS OF THE PHYSICALITY OF THE OBJECT IS THE FOCUS POINT OF LEE BYUNG HO'S WORKING METHOD AS HE DISTORTS AND RESTORES A SILICON FIGURE BY AN AIR COMPRESSOR. THE SILICON SCULPTURE IS FORMED LIKE A HOLLOW SKIN TO REVEAL THE EXISTENCE OF THE AIR. THE ELEMENTS THAT CAUSE THE PERSON TO CHANGE LIES HEAVILY ON THE OUTSIDE INFLUENCES SUCH AS MASS MEDIA, DIALOGUE, CUSTOMS AND CULTURE; IN WHICH THESE FACTORS CAN EITHER ALTER BEINGS NEGATIVELY OR POSITIVELY, THUS THE DISTORTION AND THE RESTORATION OF THE SCULPTURES. THE FUNDAMENTAL QUALITY OF AIR IS REALIZED BY THE AIR BLOWN INTO THE SCULPTURE TO BREED LIFE AND BY THE DECOMPOSITION OF THE FIGURE BY THE ABSENCE OF AIR.



LIKE SO, THE POSITIVE AND THE NEGATIVE IS A RECURRENT PRACTICE LEE CONTINUES TO INVESTIGATE, WHICH HE SKILLFULLY APPROPRIATES TO VOLUME OF VENUS (LOT 716). BY THE INSERTION OF THE AIR, HE PUMPS FIRM ELASTICITY OF THE SKIN TO THE FIGURINE, CONTINUALLY STRESSING ON THE IDEA OF EXPECTED FEMININITY, ESPECIALLY WHICH IS THOUGHT IDEAL BY COMMERCIAL MEDIA. VENUS DE MILO, A UNIVERSAL PARADIGM FOR BEAUTY AND LOVE HAS BEEN RECONSTRUCTED IN LEE'S ARTISTIC REALM BY HER GRADUAL ENLARGEMENT OF THE BREAST. THE QUIET INSINUATION OF THE RISE OF THE BREAST IS METAPHORICAL TO THE CONTINUING CHANGE IN THE EXPECTATION ON BEAUTY THAT COYLY PRESSURIZE THE SOCIETY INTO PLASTIC SURGERY. THROUGH THE ALTERATION OF THE BODY OF VENUS, LEE REMARK ON THE CHANGE IN STANDARD OF BEAUTY AS THE SUPREME PROTOTYPE OF BEAUTY HAS ALSO UNDERGONE PHYSICAL ADJUSTMENT ACCORDING TO TODAY'S PREDILECTION. HIS INTUITIVE COMPLEMENTARY CHOICE IN UTILIZING SYNTHETIC MATERIAL IS WITTINGLY SUITABLE TO HIS PERFORMATIVE SCULPTURE. TENDER AND PLIABLE YET ARTIFICIAL IN SUBSTANCE, THE FORCED AIR IN THE BREAST FURTHERS THE CHARACTERISTICS OF SILICON, UNBALANCING THE INITIAL PROPORTION OF VENUS, WHEREIN LEE'S CONSCIOUS DECISION LIES IN TURN TO CRITICIZE THE POLLUTED AIR OF PEER PRESSURE THAT HUMANS INHALE; IN OUTCOME, FESTERING THE DECORUM OF SOCIETY.