“Intrinsic Void” Exhibition

“Intrinsic Void” Exhibition

The Sylvia Wald and Po Kim Gallery

This event has ended.

The Sylvia Wald and Po Kim Gallery presents the group show Intrinsic Void, on view at the gallery’s NoHo space from October 5th, 2017 to December 21st, 2017. Showcasing contemporary works in traditional and new media six artists from the U.S. and Korea: Sylvia Wald, Seung-Won Suh, Raphaele Shirley, Yong R. Kwon, Hoo Chang Lee, and Gwang Hee Jeong.

The exhibition explores concepts of visible and invisible reality in an examination of the Eastern philosophy of the void, a transcendental realm of simultaneous existence and nonexistence. In their works the artists confront themes of duality – perception vs. reality, seen vs. unseen, empty vs. full. The works presented in Intrinsic Void each investigate this dual state of existence, reminding the viewer of humankind’s constant search of the invisible realities that are hidden from sight.

Included in the show are works by “Origin” group founding member Seung-Won Suh (b. 1941). In his Simultaneity series, the artist seeks to enable the unseen to be seen by creating canvases exposing a variety of colors within a monochromatic unity. Suh has consistently explored the theme of duality for more than 50 years, invariably titling his works Simultaneity. According to the artist, “simultaneity enables the unseen to be seen, ensuring that what is happening in the world of nirvana or ‘beyond dark’ could be represented through me.”

Commanding in their simple composition, miniature prints by silkscreen pioneer Sylvia Wald (1915-2011) suggest an ultimate inner peace that transcends earthly time and space. Through the artist’s sensitive juxtaposition of empty surfaces interrupted by small, yet powerful embossed dimples, Now Moment, Dialogue du coeur, and O, all from 1967, point to a meditative emptiness in which one can discover the profound power of existence.

Multi-media artist Raphaele Shirley’s light-based installations question established notions of perception and knowledge by creating environments in which the viewing experience changes depending on the viewer’s position in relation to the work. Through the use of materials such as mylar space blankets, Shirley references human ideals and aspirations, alluding to the attempt at understanding the world while pointing towards its mysterious nature. The theme of compounded layers of reality is further developed in Shirley’s augmented reality app Infinite Structures.

Exposing the illusory nature of visible perception, Yong R. Kwon (b. 1964) creates paintings of dancing light made of hundreds of stainless steel discs affixed to canvas. His constructions resemble completely empty spaces before the lights are turned on and fill the discs, immersing the canvas and beyond with infinite reflections and revealing a world of previously unseen colors and form.

Glass artist Hoo Chang Lee (b. 1979) creates sculptures which confront the viewer with reflective illusions, inviting comparisons between the transparent, yet reflective materiality of the glass medium and the filters of human understanding. Through the use of glass and mirrors, the artist points towards the illusory nature of perception, suggesting that all visual experience is an illusion– a mere reflection of light.

Korean-based artist Gwang Hee Jeong (b. 1967) creates works incorporating calligraphic brushstrokes on textured canvases made of folded hanji paper, often sourced from ancient books or manuscripts. Blurring the boundaries between text, image and form, Jeong translates nonexistent scenes and sites by separating from an obsession over form and object. Through this process of emptying objects of meaning, the artist seeks to allow a freedom from perception that enables the invisible to be revealed through the visible.

Media

• Painting
• Drawing
• Sculpture
• Installation

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