What to make of large scrap-like pieces of
metal strategically placed on the floor? Or
a tabletop with a chunk cut out of the corner?
These questions come to mind as one
searches for appropriate tools to assess
Chung Seoyoung's sculpture and multi -
media work. Appropriately enough, such
works emphasize the arbitrary and rootless
nature of things. Chung also uses elements
of the absurd to invest material objects with
a sense of ambiguity.
Sculptures like Curb (2013) and Corner
Stone (2011)--both featured in "Ability vs.
Invisibility," Chung's first solo show in New
York, at the Tina Kim Gallery--attempt
to recalibrate our idea of aesthetics and of
what sculpture can be. The cast aluminum
Curb reproduces an ordinary slice of daily
experience, singling out for attention a prosaic
piece of functionality that would normally
go unnoticed (except in moments of
failure), while Corner Stone, a rough, shapeless
blob of cement, playfully fills the gap
left by right-angled, architectural order....see the entire article in the print version of January/February's Sculpture magazine.