‘Decorated’ and ‘Raw’
Park Soyoung shows her works decorated with various colors in Sarubia Space in three years. At her solo exhibition in 2003(‘Green and Burden’, Gallery Fish), they were heavy white plaster masses. At that time, she coated plaster masses with urethane pigments after casting them by synthetic resins, and put them casually in undecorated 'raw' space.
Her figures get to reveal the formative characteristic separately or together. These shapes are ambiguous. Since she has started sculpture, the most fundamental question of Park Soyoung is ambiguity. This attribute has a property of matter to enable any expectation. For that reason, the instinct is changed into beauty by her sense, labor and agony. And it is covered with meanings such as 'healing, sorrow, wildness, lonesomeness, anguish, courage, windpipe, mass'.
As she expresses her true feeling through only a stone, the mass contains diverse expressions and various shapes like a riddle to solve veiled truth. A gesture of 'hesitation'. To be overcritical, they are spirits. That is a kind of unfinished or grazed figures.
Fantastically I imagine if audience wanders here and there between the spirits and plays with peeling the shell of hidden 'beauty' as they sticks out their secret tongue, the gallery space could be converted into a abundant place by emotional episode granted to figures. The background to can make this imagination is because her works match the unique identity of Sarubia space to be written this text.
So, there becomes to form both a homogeneous and heterogeneous or exclusive and complementary relationship between the masses and space. The identity of the relationship can be tied up or get to loose depending on the will of artist. By a location, the masses varies the space and the flow of variation makes the movement of audience possible,
On the other hand, a stare at huge mass(to maximize the basic meaning) felt like white phobia strains the varied flow and it is able to analogize invisible formation and psychological phenomenon in the gap of 'decorated' and 'raw'.
By Lee Kwanhoon / Curator, Project Space Sarubia Dabang
For a Week
Did plaster figure work for around a week lately.
First, made a rough form and it was close to completion as being coated plaster directly.
Mere labor of sanding did over again sixty times to a hundred eighty times, four hundreds times then thousand times for making it fine like a skin.
Eventually made holes in the plaster mass to attach a handle.
The holes of the mass become windpipe, then they become a joy.
By the way, I always worry about how many holes I should make.
Why am I inclining toward an odd number than an even number?
Nevertheless that’s just no more than convention.
Need more consideration.
Labor makes form, form makes art.
That becomes some title such as mass or form or burden.
Beauty is healing to me.
Beauty is sorrow.
Beauty is wildness.
Beauty is lonesomeness.
Beauty is anguish.
Beauty is courage.
Beauty is windpipe.
Beauty is mass.
By Soyoung Park 2003
