Imdahhyun

Created during my exchange at Edinburgh College of Art, The Great Void was a direct response to the traditional statues inhabiting the Sculpture Court. Rather than adding a conventional object to the space, I explored the invisible structures that support sculpture but typically remain unseen—modeling tables, clamps, and coverings.

I stacked modeling tables into a towering form, secured them with clamps, and placed a chair at the summit to suggest a human silhouette. The entire structure was then veiled with a dust sheet and bound with ropes, mimicking the appearance of a solemn monument. Despite its physical presence, the interior remains void—a structural irony. By employing non-standardized structures and flexible components, the artist challenges the conventional concepts of mass and form in traditional sculpture.

작가는 에딘버러 대학교 교환 프로그램 참가 시 스컵쳐 코트에서 전시를 했다. 스컵쳐 코트의 전통적 서구 양식을 패러디하는 작업을 진행했는데, 조각 스튜디오에서 발견한 소조 테이블을 탑처럼 쌓았다. 정점에 작은 의자를 올리고 방수포와 비닐로 감싸 작업을 마무리했다. 물리적인 존재감을 가졌으나, 내부는 텅 빈 아이러니한 구조다. 작가는 이를 통해 전통 조각의 정형성과 무게감을 비정형적 구조와 가변적 조각을 통해 전복하고자 했다.

During my early days studying in the UK, I faced the practical challenge of sourcing materials in an unfamiliar environment. Local hardware shops carried items I had never used, and my limited English at the time made even simple inquiries difficult. Out of necessity, I began gathering offcuts from the school's wood workshop, initially attempting to stack them into a grid-like tower. However, I soon realized that the tower’s inherent symbolism—representing authority, order, and power—did not align with my artistic intent.

To dismantle these connotations, I collapsed the structure and scattered its components across the studio floor. I began integrating these wooden fragments with found objects that carried a sense of personal history: scraps of paper from packing boxes, old lightbulbs, and stray threads. This act of deconstruction allowed me to evoke a nostalgic, intimate atmosphere that resonated more deeply with my experience of displacement. Also, I became fascinated by how disparate fragments, when gathered, can coalesce into a larger narrative. This period marked a pivotal shift in my practice, moving away from rigid structures toward immersive installations that explore the atmosphere.

작가의 영국 유학 초기, 재료 구할 곳이 마땅치 않았다. 목공 스튜디오에서 구한 재료들로 그리드 형태를 만들어 탑처럼 쌓고자 했으나, 탑이 가지는 상징적 권위, 질서, 남성성은 작업의 방향과 맞지 않았다. 탑을 해체해 바닥에 흐트러뜨리고, 모아두었던 재료(택배 박스의 종이 조각, 전구, 실 등)를 함께 설치했다. 유년의 향수를 느낄 수 있었다. 이 작업을 통해 작가는 조명과 색이 만들어내는 이미지에 관심을 가지게 되었다. 또한 작은 파편들을 모아 전체적인 설치를 이루는 방식에 흥미를 느낄 수 있었다.

The Great Void (site-responsive at Edinburgh Sculpture Court) 2016modeling table, tarpaulin, transparent dust sheer, string 60x60x250 (cm)

Untitled (Wip Show at Royal Collge of Art) 2016paper box, welded steel bar, wood scrap, chair, table leg, bulb, string, tape 100x200x5 (cm)

Untiteled2025

The Great Void

Created during my exchange at Edinburgh College of Art, The Great Void was a direct response to the traditional statues inhabiting the Sculpture Court. Rather than adding a conventional object to the space, I explored the invisible structures that support sculpture but typically remain unseen—modeling tables, clamps, and coverings.

I stacked modeling tables into a towering form, secured them with clamps, and placed a chair at the summit to suggest a human silhouette. The entire structure was then veiled with a dust sheet and bound with ropes, mimicking the appearance of a solemn monument. However, this grandeur was a facade; the interior was entirely hollow, exposing the irony of a monumental form that contains nothing but emptiness.

작가는 에딘버러 대학교 교환 프로그램 참가 시 스컵쳐 코트에서 전시를 했다. 스컵쳐 코트의 전통적 서구 양식을 패러디하는 작업을 진행했는데, 조각 스튜디오에서 발견한 소조 테이블을 탑처럼 쌓았다. 정점에 작은 의자를 올리고 방수포와 비닐로 감싸 작업을 마무리했다. 물리적인 존재감을 가졌으나, 내부는 텅 빈 아이러니한 구조다. 작가는 이를 통해 전통 조각의 정형성과 무게감을 비정형적 구조와 가변적 조각을 통해 전복하고자 했다.

Untitled

During my early days studying in the UK, I faced the practical challenge of sourcing materials in an unfamiliar environment. Local hardware shops carried items I had never used, and my limited English at the time made even simple inquiries difficult. Out of necessity, I began gathering offcuts from the school's wood workshop, initially attempting to stack them into a grid-like tower. However, I soon realized that the tower’s inherent symbolism—representing authority, order, and power—did not align with my artistic intent.

To dismantle these connotations, I collapsed the structure and scattered its components across the studio floor. I began integrating these wooden fragments with found objects that carried a sense of personal history: scraps of paper from packing boxes, old lightbulbs, and stray threads. This act of deconstruction allowed me to evoke a nostalgic, intimate atmosphere that resonated more deeply with my experience of displacement. It was through this process that I became fascinated by how disparate fragments, when gathered, can coalesce into a larger narrative. This period marked a pivotal shift in my practice, moving away from rigid structures toward immersive installations that explore the combination of material and the immaterial things.

작가의 영국 유학 초기, 재료 구할 곳이 마땅치 않았다. 목공 스튜디오에서 구한 재료들로 그리드 형태를 만들어 탑처럼 쌓고자 했으나, 탑이 가지는 상징적 권위, 질서, 남성성은 작업의 방향과 맞지 않았다. 탑을 해체해 바닥에 흐트러뜨리고, 모아두었던 재료(택배 박스의 종이 조각, 전구, 실 등)를 함께 설치했다. 유년의 향수를 느낄 수 있었다. 이 작업을 통해 작가는 조명과 색이 만들어내는 이미지에 관심을 가지게 되었다. 또한 작은 파편들을 모아 전체적인 설치를 이루는 방식에 흥미를 느낄 수 있었다.