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Jess Johnson: Worlds Within Worlds Ocula Conversation Jess Johnson: Worlds Within Worlds

Geometric patterns, anthropomorphic characters, architectural spatial environments, and relics of the ancient world appear throughout Jess Johnson's artworks.Johnson's solo art-ventures began in drawing, but her long-term collaborative relationship with animator Simon Ward brings her drawings to life in videos and virtual reality. The animator has...

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Melati Suryodarmo: Performance Art as Trigger Ocula Conversation Melati Suryodarmo: Performance Art as Trigger

In 2012, Melati Suryodarmo opened Studio Plesungan in her native Surakarta, also known as Solo, the historic royal capital of the Mataram Empire of Java in Indonesia. Suryodarmo had returned to Indonesia from Germany, where she studied Butoh and choreography with Butoh dancer and choreographer Anzu Furukawa, time-based media with avantgarde...

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Lagos Biennial 2019: Stories from Africa’s most Populous City Ocula Report Lagos Biennial 2019: Stories from Africa’s most Populous City 15 Nov 2019 : Jareh Das for Ocula

Under the direction of Folakunle Oshun, the second edition of the Lagos Biennial (26 October–23 November 2019) includes works by over 40 Lagos-based and international artists, architects, and collectives. Curated by architect Tosin Oshinowo, curator and producer Oyindamola Fakeye, and assistant curator of photography at the Art Institute of...

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Hans Hartung and Art Informel: Exhibition Walkthrough Ocula Insight | Video
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Hans Hartung and Art Informel: Exhibition Walkthrough 15 October 2019

Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...

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Hyungkoo Lee

b. 1969, South Korea

Hyungkoo Lee's Biography

From his wearable devices exaggerating physical features to sculptures and installations featuring skeletons, Korean artist Hyungkoo Lee's bizarre, experimental artworks reexamine the confines and possibilities of the human body.

Hyungkoo Lee graduated from Seoul's Hongik University in 1998, after which he went on to receive an MFA from the School of Arts, Yale University, in 2002. Many of Hyungkoo's artworks produced between this period appeared in The Objectuals, his first major solo exhibition at Sungkok Art Museum, Seoul, in 2004. On view were a range of his optical instruments, from the wearable A Device (Gauntlet1) that Makes My Hand Bigger (1999), which enlarges the wearer's hand and fingers, to the prints showing models donning transparent helmets that multiply the number of their eyes to eight (8E-P, 2002) or blow the mouth out of proportion (Altering Features with BH3, 2003).

The 'Animatus' series

The pseudo-scientific nature of Lee's artworks is perhaps best reflected in 'Animatus' (2005–7), a series of fabricated fossils of famous cartoon characters. In order to construct the skeletons of Bugs Bunny (Lepus Animatus, 2005–6) or Tom and Jerry (Felis Catus Animatus & Mus Animatus, 2006–7), Lee carefully studied animal anatomy and the characters' external designs. The sculptures, which are all made by hand, are products of negotiation between science and cartoonish exaggerations. In an interview with Ocula Magazine in 2019, the artist notes some of the considerations he had, such as the characters' simplified number of fingers and toes and disproportionately huge eyes.

Hyungkoo Lee's exploration of the human body

Lee's exploration of the human body includes the relationship between senses and movements. As he reflected in his 2019 Ocula Conversation, this interest was inspired by finding himself in a new, culturally different environment when studying abroad, where he felt that 'I needed to readjust my senses through learning or repetitive training'. With the aid of A Device for Walking Backwards (2001), an antennae-like gadget with mirror on either side for an access to the hind vision, Lee learned to walk and, later, run backwards. His engagement with unfamiliar perspectives can also be seen in the single-channel video Measure (2014), which shows him wearing a belt with a pair of horse attached to it (Instrument 01, 2014), and evaluating the movements of a horse and rider at a dressage competition.

Kiamkoysek (2018)

In other works, the skeleton becomes fluid, abstract objects. The large-scale installation Kiamkoysek (2018), for example, consists of bone parts hanging from the ceiling or arranged on the floor, hinting at the remains of an ancient, gigantic creature or an abstracted landscape. To add to the ambiguity, Hyungkoo Lee derived the title from a Korean word for 'oddly shaped rocks and stones' and wrote it phonetically according to the Yale romanisation system, which made the resulting word—Kiamkoysek—unfamiliar even to native Korean speakers. Similarly, X (2019)—an installation presented at Lee's solo exhibition Penetrale at P21, Seoul, in 2019—shows skeleton-like fragments affixed onto a three-dimensional grid, accompanied by small spheres and arrows, evoking an unknown universe.

Biography by Sherry Paik | Ocula | 2019
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Featured Artworks

View All (17)
Psyche up Panorama PU 13 - P by Hyungkoo Lee contemporary artwork
Hyungkoo LeePsyche up Panorama PU 13 - P, 2019 paper mache, plaster, medical plaster cloth gauze bandage, aluminum, stainless steel wire, spray paint
72 x 70 x 35 cm
P21
Psyche up Panorama PU 19 - P by Hyungkoo Lee contemporary artwork
Hyungkoo LeePsyche up Panorama PU 19 - P, 2019 paper mache, plaster, medical plaster cloth gauze bandage, aluminum, shaper sheet, acrylic pigment, spray paint
23 x 35 x 24.5 cm
P21
Psyche up Panorama PU 18 - P by Hyungkoo Lee contemporary artwork
Hyungkoo LeePsyche up Panorama PU 18 - P, 2019 paper mache, plaster, medical plaster cloth gauze bandage, aluminum, stainless steel wire, colored wire, spray paint
102 x 87 x 39 cm
P21
Psyche up Panorama PU 14 - P by Hyungkoo Lee contemporary artwork
Hyungkoo LeePsyche up Panorama PU 14 - P, 2019 paper mache, plaster, aluminum, stainless steel wire, epoxy, styrofoam, acrylic pigment
9 x 7.5 x 8.5 cm
P21
Psyche up Panorama PU 12 - P by Hyungkoo Lee contemporary artwork
Hyungkoo LeePsyche up Panorama PU 12 - P, 2019 paper mache, plaster, medical plaster cloth gauze bandage, aluminum, stainless steel wire, rawhide dog bone, water putty, acrylic pigment, spray paint
55 x 53 x 23 cm
P21
Psyche up Panorama PU 11 - P by Hyungkoo Lee contemporary artwork
Hyungkoo LeePsyche up Panorama PU 11 - P, 2019 (middle)paper mache, plaster, medical plaster cloth gauze bandage, aluminum, stainless steel wire, acrylic pigment
15 x 9 x 10 cm
P21
Psyche up Panorama PU 09 - P by Hyungkoo Lee contemporary artwork
Hyungkoo LeePsyche up Panorama PU 09 - P, 2019 paper mache, plaster, medical plaster cloth gauze bandage, aluminum, stainless steel wire, acrylic sheet, colored wire
31.5 x 17 x 20 cm
P21
Psyche up Panorama PU 08 - P by Hyungkoo Lee contemporary artwork
Hyungkoo LeePsyche up Panorama PU 08 - P, 2019 (left)paper mache, plaster, medical plaster cloth gauze bandage, aluminum, acrylic pigment
81 x 33.5 x 39.5 cm
P21

Current Exhibitions

Contemporary art exhibition, Hyungkoo Lee, PENETRALE at P21, Seoul
Open Now
16 October–30 November 2019 Hyungkoo Lee PENETRALE P21, Seoul

Represented By

In Ocula Magazine

Hyungkoo Lee: Seriously Fake Science Ocula Conversation Hyungkoo Lee: Seriously Fake Science

Korean artist Hyungkoo Lee's exhibitions evoke a scientist's lab or an archaeologist's workshop, often equipped with outlandish gadgets, skeletal or anatomical models in vitrines, or a desk with incomplete skulls, brushes, and notes. Yet his wearable devices, drawings, and sculptures hardly depict real-life subjects—they are chimeras borne...

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