KYU-HAK LEE

Monument

April 20 – June 18, 2017

KYU-HAK LEE
Monument- Starry Night Over the Rhone, 2017
Mixed media on board
57 7/8 x 45 1/4 in (147 x 115 cm)

KYU-HAK LEE
Monument- Street Road Auvers, 2012
Mixed media on board
35 3/8 x 51 1/8 in (90 x 130 cm)

KYU-HAK LEE
Monument- Church at Auvers, 2014
Mixed media on board
46 1/8 x 31 5/8 in (117 x 80.3 cm)

KYU-HAK LEE
Monument- View of Paris, 2013
Mixed media on board
31 1/2 x 45 5/8 in (80 x 116 cm)

KYU-HAK LEE
Monument- Self-Portrait with Bandaged Ear #2, 2017
Mixed media on board
46 1/8 x 35 7/8 in (117 x 91 cm)

KYU-HAK LEE
Monument- Gogh's Chair #5, 2017
Mixed media on board
35 7/8 x 25 5/8 in (91 x 65 cm)

KYU-HAK LEE
Monument- Gogh's Chair #5, 2017
Mixed media on board
35 7/8 x 25 5/8 in (91 x 65 cm)

KYU-HAK LEE
Monument- Railway Bridge, 2013
Mixed media on board
23 7/8 x 35 7/8 in (60.6 x 91 cm)

KYU-HAK LEE
Monument- Peach Trees in Blossom, 2012
Mixed media on board
17 3/4 x 37 3/8 in (45 x 95 cm)

KYU-HAK LEE
Monument- The Red Vineyard, 2015
Mixed media on board
6 1/8 x 22 3/4 in (15.3 x 57.8 cm)

KYU-HAK LEE
Monument- Drawbridge in Nieuw-Amsterdam, 2013
Mixed media on board
9 5/8 x 29 3/4 in (24.5 x 75.5 cm)

Press Release

BLANK SPACE is pleased to present Monuments, Kyu-Hak Lee’s first solo exhibition in New York. Demonstrating the artist’s unique technique of mixed-media mosaic, this exhibition will feature reinterpretations of Vincent Van Gogh’s masterpieces that were vital to the development of Post-Impressionist style. This exhibition will mark the end of Kyu-Hak Lee’s decade long series dedicated to Van Gogh, and will survey the chronology of the artist’s artistic progression as well as his changing perception on Gogh’s work. The exhibition has been extended to June 18. 

 

Over a period of a decade, South Korean artist Lee has immersed himself in recreating paintings by Van Gogh in a distinctive method of mixed-media mosaic, which involves using Polystyrene foam, or Styrofoam strips as building blocks of his paintings. These constituents are wrapped in magazine and newspaper, which are then covered by a layer of hanji, traditional handmade Korean paper. The components adhere to one another on the canvas creating a mosaic-like assemblage that very much resembles the visible brushstrokes of Van Gogh.

 

Lee’s unconventional artistic approach is a social commentary on consumerism of modern civilization, and questions the intrinsic values of the millennial era. Using everyday materials as a gesture of upcycling, Lee uses Styrofoam as the base of his material as it best represents the vanity of contemporary culture. Styrofoam, whose fragility and flammability are subject to transience, is simultaneously non-biodegradable like plastic. The translucency of hanji wrapped over the layer of magazine and newspaper represents a reflection on human involvement in the world through the eyes of tradition, and the torn publications show letters and writing have lost their purpose as the fundamental tool for shaping tradition and modern society.

As a teenager, Lee was inspired by Van Gogh’s Champ de blé aux corbeaux, which became the impetus to take up the brush and create. Originally a conceptual artist working mainly in monographic colors and fundamental patterns, Lee devoted ten years of his artistic career to Van Gogh. This exhibition will be the last of the artist’s Monuments to Van Gogh series, after which he will endeavor in the Nomad Project where he will travel from city to city to discover his own narratives.  

 

Born in Gyeongju, South Korea, Kyu-Hak Lee received a Master of Fine Arts from Chung-Ang University, and currently lives and works in Korea. He has since exhibited in Miami, Seoul, Paris, Zürich and Frankfurt, and his work are held in the Boghossian Foundation in Belgium, Busch Co. in Germany, Artist Pension Trust in England, Arteallimite Collection in Chile, and private collections in Monaco, London, New York, Paris, Miami, Shanghai, Geneva and Mexico.