Posts Tagged ‘natural materials

01
Sep
10

Jaehyo Lee : Sculptor

Jaehyo Lee
121-1110=107063
big cone pine
51″ x 24″ x 47″
2007

Jae Hyo Lee
0121-1110-1090515
big cone pine
83″ x 70″ x 46″
2009

Jae Hyo Lee
0121-1110=1080713
wood (chestnut tree)
150 x 50 x 150 cm
2009
Jae Hyo Lee
0121-1110=1081012
Wood (olive tree)
80 x 80 x 26 cm
2009

For a Western audience, Jaehyo Lee is easy to place; he makes good sense among sculptors who work closely with natural materials, such as David Nash and Andy Goldsworthy. At the same time, Lee’s extraordinary gift with sanded wood, as well as his penchant for charred wood covered with bent nails, seems oriented toward a sensibility that differs slightly from the organic sculptures created by his Western counterparts.

Lee’s sense of finish and his nearly obsessive treatment of the surface help him focus on exteriors that nevertheless radiate inner energies. One approaches his large, uncommonly shaped works with a sense of wonder. How does he do it? Where does he get his ideas? The spheres of polished big cone pine, larch, and chestnut act in unison, embodying both natural and manmade forms. They enhance the natural possibilities of the wood, a material with suggestively lyrical qualities.

Lee not only makes projects about nature, he also works within nature, so that his sculptures both describe and exemplify the natural world. This combination makes his work hard to categorize, partly because it reveals aspects of the wood that have little to do with him as an artist, partly because he possesses a highly finished sense of design, which also tends to favor materials over handling

(Extract : Jonathan Goodman : Sculpture Magazine, “The Possibilities of Nature”, May, 2009)

Jaehyo Lee : Works

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09
Jul
10

Richard Long : Textworks

Click Images For Text On  White Background

Nature has always been recorded by artists, from pre-historic cave paintings to 20th century landscape photography. I too wanted to make nature the subject of my work, but in new ways. I started working outside using natural materials like grass and water, and this evolved into the idea of making a sculpture by walking. Walking itself has a cultural history, from Pilgrims to the wandering Japanese poets, the English Romantics and contemporary long-distance walkers.

My first work made by walking, in 1967, was a straight line in a grass field, which was also my own path, going ‘nowhere’. In the subsequent early map works, recording very simple but precise walks on Exmoor and Dartmoor, my intention was to make a new art which was also a new way of walking: walking as art. Each walk followed my own unique, formal route, for an original reason, which was different from other categories of walking, like travelling. Each walk, though not by definition conceptual, realised a particular idea. Thus walking – as art – provided an ideal means for me to explore relationships between time, distance, geography and measurement. These walks are recorded or described in my work in three ways: in maps, photographs or text works, using whichever form is the most appropriate for each different idea. All these forms feed the imagination, they are the distillation of experience. Richard Long

TEXTWORKS

EXHIBITION WORKS

HEAVEN AND EARTH : TATE BRITAIN

01
Jul
10

Noriko Ambe : A Piece of Flat Globe

“Through creative action, some form of truth emerges – and it is this truth that I want to pursue” noriko ambe

Installation view of “A Piece of Flat Globe Vol.4-7”, 2008
At Second Nature Exhibition, directed by Tokujin Yoshioka at 21_21 DESIGN SIGHT, Tokyo

noriko ambe : interview extract

Time is essential to my work. Because over time I add more and more paper to a sculpture, the work itself ends up embodying the time taken to create it. The process is as important as the finished product and the simple act of making art every day is important to my practice. Buddhism, although it’s not my intention to show this. I started drawing lines and etching and then eventually, I began stacking paper and working in three-dimensions. Then I began working with Yupo, a synthetic, translucent paper made in Japan. It has an organic quality that makes it feel like skin. In these sculptures, the paper is beautiful, even sublime. Once, when I was in an airplane, I saw a beautiful sea of clouds below me that made me want to melt into the natural world. In the topographies that I cut into paper, human life merges with nature and all boundaries are dissolved. [Article on ‘Art on Paper’ magazine]

Noriko Ambe Works

Artists Statement

Texts




Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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