INKYUNG WHANG

 When I visited Bauhaus Archive in Berlin, I was fascinated by the spirit embedded in artist work and notes from Bauhaus movement.

 I like they play with form, line, colour and material as a mean of understanding structural composition. From Paul Klee’s watercolour painting, Laszlo Moholy-Nagy’s 3D structure and Oskar Schlemmer’s Triadic ballet, I adored the live geometry and mechanical beauty. Sometimes it seemed as if objects dissolved into materials and it appeared as a volume of colours.  

 Consequently, I tried to define 3 elements for my practice to find my structural composition: volume, material and colour.

 

 Assuming object and space as a whole as if there is no order of placing object into background space, whole structure arise as a volume. Not in a general understanding of the capacity of container, but in opened boundary as a whole mass/ an organic form of object-in-space.

 Then I want to focus on materials and how they convey energy from space-time they have been through. They may reveal their energy in the process of deconstruction/reconstruction. I will try to degrade its character of general understanding from given object. It is to find the immaterialised elements in the object in order to deconstruct the objects and alter the given structure of it.

 Finally, colour interplays with both volume and material. According to Klee, “Colour can be neither weighed nor measured. Neither with scales nor with ruler can any difference be detected between two surfaces.” I want colour element in my work to help dematerialise an object. Then the structure of immaterialised objects would possibly create the volume of entire space.