Rise Above 1201

270cm x 120cm
Mixed Media

Curator's Eye

Beleiving they carry their own ‘soul’ and story, Ingoo Kang makes his materials the focus of his practice. Ranging from rocks and metals to hay, often a single material is selected and used to create these ruminative minimalist sculptures. In the works presented here, Kang uses constellations of hundreds of minute rocks atop birch plywood; although the materials lend a natural, earthy aesthetic, the precision of the geometrical arrangement is distinctly modern.

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Black crushed stones usually spread in yards or parking lots remain risen in my work. Like elements they float on the same level seemingly full of energy.

I exploit uneven pebbles like Lego bricks. They are at times structuralized, hung on the wall like an abstract painting, or stand like a pillar. A rock is cut out to be used as architectural material, but looks like a monument after being reconstructed through work.

My work material, stone, proceeds to another order, beyond the state of being piled or layered. Stones are not a congregation of inanimate objects dominated by gravity but appear defy gravity. They are recomposed in the most artificial form of a quadrangle, not found in nature, moving beyond the irregularity of each stone.

Movements arise mainly in the rectangular inside by density and arrangements of particles. Work’s outlines thus look like a cross section, prefiguring some continuation despite its limited spatial form. Works hung on the wall connote temporality in that viewers are able to grasp their whole appearance even when they changed viewpoints. With this temporality, memories and narratives can be inserted into simple visual images in conspicuous order.

Stones are raised and arranged in space by steel. I choose stones of proper size and tie them with steel wire. The height of the work and the thickness of the steel wire depend on the physical properties of the material used. The height of work is determined by how high the steel wires can stand: a stone can be raised higher if a thicker steel wire is used. I put more importance on tension than stability, I choose steel wire as thin as possible.

The works on the wall, whose form emerges from diverse heights and gaps gradually reveal its appearance relying on changes in time. As innature, time is a decisive factor in the change of form which associates a change in meaning.

The flow of energy at the moment a rock gets broken is represented with cracks and flections of great diversity through the determination of height and density demanding aesthetic and physical consideration.

I try to fabricate the universal echoing of the order of nature, not arbitrary patterns as simple ornaments.

Medium: Stone, stainless wire, birch plywood and acrylic case

Country of Origin: South Korea