THEO presents PATTERN 4, a solo exhibition by Jaewon Kang from 16 September to 27 October 2023.
Based on his interest in futuristic sculpture, Jaewon Kang has been presenting works that link or derive 3D programmatic modelling into various forms of real-world sculpture. The digital sculpture method, which is created by programmatic physical laws that operate differently from reality, works as a new sculptural method for the artist, and at the same time presents the 'sensation' formed by the digital sculpture method.
During the journey from PATTERN 1 to PATTERN 3, the programmatic digital sculptures were transferred to the space and time of reality through methods such as inflatables and 3D printing, and in this process, the sculptures influence each other separately and together to produce and mass-produce new sculptural aesthetics.
Among them, Inflatable is the most well-known form of the artist's work, and during the exhibition, the sculpture is continuously injected with wind using a blower to maintain its shape, but at the end of the exhibition (when the work is removed), the sculpture loses its shape due to the loss of wind at the same time as the power is turned off, and another shape is formed in this process. This solo exhibition, PATTERN 4, is organised around the above process, 'Deflate'.1
Unlike the inflatable sculpture, which maintains its shape through the wind that is continuously injected into it, the new work, which is in a stationary state, contains a process of change in which the wind is removed from the inflated digital sculpture through the process of setting and simulating various functions in the 3D program.
In addition, unlike the frozen temporality of the inflatable sculpture, whose goal was to maintain its shape by relying on a blower, the physicalised sculptures of the frozen shape are composed of a few frames selected by the artist's sculptural aesthetic, but they contain the temporality of the polygonal change process that is deflated in the program, and it is possible to infer and imagine the deflation process of the sculpture through the composition of the exhibited works.
The entire process of a digital sculpture born in a digital space-time that operates differently from reality, and then materialised in a real space-time, is an extension of the timeline of the past 'PATTERN' series, and holds infinite possibilities for the possibility of a digital sculpture that transforms itself and the concept of 'future sculpture' that the artist explores.
The entire process of a digital sculpture born in a digital space-time that operates differently from reality, and then materialised in a real space-time, is an extension of the timeline of the past 'PATTERN' series, and holds infinite possibilities for the possibility of a digital sculpture that transforms itself and the concept of 'future sculpture' that the artist explores.2
In the exhibition space, sculptures in the process of being deflated in two ways, one clockwise and one counterclockwise, are displayed, and through the video on the monitors, visitors can also enjoy the simulation process of deflation of this exhibition along with 'Exo7_simulation', which was created as an attempt to deflate in the past.
1 The artist has often shared the deflation process of his inflatable works on social media.
2 The artist creates shapes by applying functions (Deformation: Skew, Twist, Bend, Gravity, etc.) that simulate the physical laws of reality inside the 3D program to basic three-dimensional shapes. While adjusting the functions, you select shapes one by one by going back and forth between the past and present through 'ctrl+z/ctrl+shift+z' until a shape with a certain degree of formability is created. Different combinations of order and intensity produce different results, so the process of blending is done carefully. The finished sculpture initially exists as a 3D file.
Press release courtesy THEO.
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