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拍品專文
Born in 1975, Choi Xoo-Ang received both his B.F.A. in 2002 and M.F.A. degree in 2007 from Seoul National University in Korea. He gained immediate attention from the art world and the general public following his first solo exhibition where he first presented his hyper-real grotesque figures. Since then, he has been successfully achieving constant recognition with breathtaking developments in artistic conception. He is the recipient of numerous prestigious awards including the Artists of Tomorrow in 2010 from the Sung-Gok Museum, a notable private institution in Korea and supporter of his grand-scale solo exhibition. Many of Choi's works are collected by renowned public institutions such as the Seoul Museum of Art and the National Museum of Contemporary Art, Korea.
Choi states that he chose to become a sculptor rather than a painter because he believes the inherent three-dimensional quality of sculpture to be more effective in engaging with viewers. When discussing his works, Choi emphasizes that the hyper-realist feature of his sculptures results from his intention to better visually communicate his message to viewers. Acclaimed for his skilled technical ability, Choi refuses to rely on technique alone. His pieces reveal a deeper understanding and appreciation for the significance of conceptuality in contemporary art. Following his solo exhibition in 2004, Choi's interest continues to explore the social conditions among ordinary people in Korea by investigating psychological contradictions, pathological symptoms, and constant conflicts within society. The artist's sculptures are uncannily realistic and the subjects he chooses to depict are those one may encounter in daily life so to draw us closer in forming our own personal narrative instead of others.
It would be rare for critics to disagree that The Wings (Lot 1422) is a highly memorable piece and one of the masterpieces to date in the artist's career. Choi is successful in creating a symbolic and visually striking form in this piece with strong commentary on contemporary Korean society. The many hands elaborated in detail serve to symbolize the laborers who contributed their efforts in building the rapid economic growth in Korea. The anonymity of the hands implies each individual's sacrifice in their arduous labor, and exemplifies Chou's critique on traditional Korean values taken for granted. The malfunctioning wing is representative of the artist's questions regarding the meaning of the economic growth that has weighed down on Korean people. The Red Dreamer (Lot 1423) portrays a person seemingly discouraged by a red mass which sits at a mass almost as large as herself on her head. Perhaps it is a reflective self-portrait of us as the large mass equates to an oppressive desire to dream of a better future, forgetting the importance of the present. The two pieces featured here are outstanding evidences of Choi's visually striking conceptual forms, and is only the beginning of what is more to come from this promising artist.
Choi states that he chose to become a sculptor rather than a painter because he believes the inherent three-dimensional quality of sculpture to be more effective in engaging with viewers. When discussing his works, Choi emphasizes that the hyper-realist feature of his sculptures results from his intention to better visually communicate his message to viewers. Acclaimed for his skilled technical ability, Choi refuses to rely on technique alone. His pieces reveal a deeper understanding and appreciation for the significance of conceptuality in contemporary art. Following his solo exhibition in 2004, Choi's interest continues to explore the social conditions among ordinary people in Korea by investigating psychological contradictions, pathological symptoms, and constant conflicts within society. The artist's sculptures are uncannily realistic and the subjects he chooses to depict are those one may encounter in daily life so to draw us closer in forming our own personal narrative instead of others.
It would be rare for critics to disagree that The Wings (Lot 1422) is a highly memorable piece and one of the masterpieces to date in the artist's career. Choi is successful in creating a symbolic and visually striking form in this piece with strong commentary on contemporary Korean society. The many hands elaborated in detail serve to symbolize the laborers who contributed their efforts in building the rapid economic growth in Korea. The anonymity of the hands implies each individual's sacrifice in their arduous labor, and exemplifies Chou's critique on traditional Korean values taken for granted. The malfunctioning wing is representative of the artist's questions regarding the meaning of the economic growth that has weighed down on Korean people. The Red Dreamer (Lot 1423) portrays a person seemingly discouraged by a red mass which sits at a mass almost as large as herself on her head. Perhaps it is a reflective self-portrait of us as the large mass equates to an oppressive desire to dream of a better future, forgetting the importance of the present. The two pieces featured here are outstanding evidences of Choi's visually striking conceptual forms, and is only the beginning of what is more to come from this promising artist.