Future Exhibitions
Lee Ungno Museum Collection
2017. 1. 17 ~ 3. 26
This exhibition is the first show held in 2017. That examines the physical properties of the Lee's works, focusing on the materials that Lee used such as stone, wood, paper, ceramics, and fabric. Lee emphasized a revolution of mediums and a new intelligence to boldly experiment with creative methods. Given that in 1959 <<Kassel Documenta>> gave him a sense of modernity, he could achieved modernist art through material innovation, which was an important aesthetic task for him. This collection show focuses on the material aspects of physical mediums, and draws our attention to the artist's method of giving a particular shape to a matter.
Informel was the art movement which tried to dismantle the rigid form of material by adopting the potential shape that is inherent in the material. The painters such as Jean Dubuffet and Jean Fautrier emphasized the rough texture and physical properties of paintings by utilizing mediums such as tar, cement, sand, and varnishes. Likewise various physical properties and textures were realized and developed into non-shape abstracts in Lee’s works. This type of utilization of mediums is also found in sculptures. Works made with wood, stone, and ceramics coincides with the trends of 20th century sculptures that emphasize the characteristics of the material itself rather than imitating objects. The works introduced in this exhibition can be interpreted largely in the context of art history from the viewpoint of organic form, primitive animism, informel, symbol & character.
Organic forms, easily found in the works of Jean Arp and Henry Moore, encompasses vitality latent in objects through an organic curve suggestive of natural organisms. Lee 's ceramic works can be classified into this type. Primitive animism is normally found in the works of Giacometti and Brancusi, which attempts to discover the primitive forces inherent in matters and to transform simple materials into special things. African art has realized such vitality in sculptural forms. Several wooden sculptures like <Totem> could be classified as primitive animism. Especially the techniques of wood carving and paper collages tend to intensify the expressiveness, which is associated with the pursuit of vigorous images. Also, in the art of Abstract Letter it is possible to read the Lee’s consistent attention on sings and symbols. It is important to note that all of these attempts are based on the artist's eyes and hands that are very sensitive to the nature of materials.
Room 1 exhibits paper collages and tapestries. Especially those are a reminder of Korean tradition such as Hanji. Lee has harmonized it with the Western sensitivity of modern art. Room 2 presents Ceramics that show the organic beauty of the form itself. Room 3 is devoted to Lee’s wood works. <Totem> and <Face> series pay attention to the skill of the artist that bring the shamanistic sensibility into the medium of wood. Finally, Room 4 exhibits stone-carved works. Compared to other works, the number of stone works is remarkably rare, but the expressiveness rising from the primitive texture is outstanding.
It is a unique opportunity to think about the relationship between the artist and the material, and also about the communication between them. I hope this show will be an opportunity to look back on Lee's artistic achievements as well as to deeply think about the relationship between materials, forms and art.
