Margin, Empty out_curated by Sun Mi Shin
‘Margin’, which signifies a blank space, is as a means of keyword for traditional Asian aesthetics that become a remarkable when emphasizing the emptiness; this is the word that reveals the beauty of Chung’s work to the fullest. Chung's work, which vividly transforms according to changes of surroundings such as the space between the artworks and its atmosphere, reveals strong significance of unlimited blank space. The artworks made of copper wires are placed on the white space that can be filled with anything; copper wires are connected to each other, communicating with the space and integrating together. Thus, the two genres of both two-dimensional drawing using copper wires that represent oriental aesthetics and traditional sculpture coexist in Chung’s work at the same time.
When closely looking at his materials, the work made of copper wires is weightless, easy to install, and portable so that Chung has certainly one great advantage of having exhibition everywhere. Compared to a traditional sculpture that possesses heaviness and rigid immobility, his work qualifies the element that redoubles its appeals. Furthermore, the advantage of its portability can achieve a ‘new form of sculpture’ that suits our time well. While the artist calls his work ‘non sculptural sculpture,’ and raises the issue about the composition method of modern sculpture. This exhibition presents his selected major artworks including his recent work called, A Spatialized Drawing.
