FOR IMMEDIATE RELEASE

Koh Byoung-ok
D-Sculpture
Dates: September 8 – October 6, 2007
Opening Reception: Saturday, September 8, 6:00 – 9pm

ANDREWSHIRE GALLERY
3850 Wilshire Blvd #107, Los Angeles, CA 90010
Director, John Souza
213-389-2601,
fax 213-389-3205
E-mail,
souza@andrewshiregallery.com
Web site, http://www.andrewshiregallery.com

Hours, Tuesday - Saturday, 11am - 6pm


Koh Byoung-ok

AndrewShire Gallery presents D-Sculpture, a solo exhibition by Los Angeles artist Koh Byoung-ok who envisions his art, from its formation to diffusion, as a progression of entropy-seeking energy.  
 
Starting with an accumulation of ideas recounting memories and moments of inspiration, Byoung-ok’s art making proceeds as a succession of erasures which intuitively wipe away unnecessary or unwanted parts from what he intends to produce.  In the course of this process, attachments to feelings like solitude and loneliness, for example, are played out with an element of humor that enables the artist to contemplate the meaninglessness of things and art’s ability to effect or simulate the best meaningless thing. Byoung-ok erases until the “it” he’s looking for cannot be edited any further.  When he finds what he’s wants, he responds with his ongoing hunch that the rest of the world sees his art practice as meaningless.  So, the artist’s concepts always have a built-in order that allows them to move toward their own idiosyncratic values (tones, pitches) considered to be white noise.  His work is never a criticism of things that may be inevitable, but rather it always honors the predictability that all things occur within one’s illusion of reality.  It’s simply a reduction of Byoung-ok’s conditions, intuitions and observations presented for the purpose of transference to a viewer before the certainty of their timbre, forever in suspension, transpires.
 
The truth is Koh Byoung-ok may not have any objects in this show.  With a title like D-Sculpture one might think otherwise.  But any essences found in things or necessities by which assessments of ideas are presented have only yet-to-be-known characteristics, qualities and quantities here.  One way to understand the artist’s process is to take the passenger seat in his car while he’s on the road.  There is a build up of dust and 60,000 miles on his 2000 model motor vehicle.  The dust collects because he parks it most of the year in a lot on the east end of Wilshire Boulevard’s historical Miracle Mile.  His accumulated mileage is explained by the artist’s treks to places like Death Valley, Crater Lake, Yellowstone, Zaka Lake or the Grand Canyon where he thinks about his art.  This resolve to think about art is realized with a wag that includes the additional embedded Popeye-style insight -- in the end, “I makes what I make.”  There may be some bonus narrative elements that Byoung-ok will not discuss.




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