KIAF SEOUL 2024

The four sculptors presented at the booth are artists who have each, in their own way, questioned the concept and scope of ‘sculpture’ while developing distinct themes and innovative forms. GWON Osang is known for his ‘photo-sculpture’ series, which combines the flatness of photography with the three-dimensionality of sculpture, proposing new forms of sculpture through variations in materials. His work Composition (2024) is part of his representative series Deodorant Type and is an homage to Henry Moore’s (1898-1986) Reclining Figure. Several new relief works, Wind Hole Relief (2024), which reconsiders the significance of ‘holes’ in modern sculpture, will also be on display. These lightweight pieces, covered in photo collages, challenge conventional notions of the identity of sculpture. KIM Byoungho’s (b. 1974) geometric sculpture 30 Vertical Gardens (2023) merges the vertical imagery of the city with the concept of a garden as an artificial nature, resulting in a unique balance that paradoxically reflects the aesthetics of modern civilisation. DON Sunpil draws inspiration from elements of subculture, incorporating materials like animation and figurines—often considered peripheral—into the discourse of mainstream art. LEE Jeongbae (b. 1974) transforms fragmented images of mountains, rivers, and skies seen amidst urban landscapes into geometric forms. His sculptures, which reconstitute disjointed nature into abstract masses, are painted in vibrant pigments. These works represent an attempt to reinterpret and reconstruct contemporary landscapes in the language of Sansuhwa by capturing and reimagining urban nature that has been tailored and privatised according to human needs.

The booth will also feature diverse perspectives and viewpoints from four contemporary painters from Korea and Japan. Their works are notable for their variety of techniques and expressions, as well as the originality of their compositions. KANG Cheolgyu projects his inner world onto the canvas. The hybrid creatures that frequently appear in his works, such as in Mermaids Fishing, Goats Falling (2024), symbolise irony, representing contradictions, and serve as allegories for the surreal dissonance experienced in real life. NOH Sangho (b. 1986) has built a unique artistic oeuvre centred around paintings that use images floating in the online world as material. Newly created works from his representative series The Great Chapbook (2024) and Holy (2024) will be on display at the booth. AN Gyungsu (b. 1975) paints forgotten suburban landscapes, which he refers to as ‘floating landscapes.’ His delicate brushstrokes capture objects, memories, and sensations that have been pushed to the periphery, preserving them on the canvas with timeless clarity. Yuki SAEGUSA (b. 1987) is an artist who experiments with various materials and media, focusing on a series of oil and tempera paintings. Her works blend elements of traditional Japanese landscape painting, known as Sansuga, Northern European Flemish art, and anime-like imagery to create detailed, fictional landscapes that are meticulously rendered and based on her everyday experiences, memories, and imagination.