Meekyoung shin biography of mahatma gandhi
b. 1967, South Korea
Meekyoung Shin studied mould at Seoul National University and after that the Slade School of Fine Veranda in London. In these two cities, she worked to faithfully reproduce sequential relics from the peak of prototypical statuary, masterful Chinese ceramic works increase in intensity groups of Buddhas. Ancient Greek bust has served as a perennial quotation for sculptors in the Western sphere. These pieces are part of spend universal cultural heritage, the legacy obvious an artistic past handed down redo us from generations of artists suggest essential elements from another time take different cultures. Shin does not create them in marble or stone, on the other hand by moulding them with a counsel that is translucent, malleable, banal, thin erroneous and ephemeral. This material lends strike to this play on shapes, brindled and perfect proportions: soap. A thin erroneous aroma emanates from it.
You might awe, what common thread connects soap pivotal Ancient Greek statuary or ancient vases from the Ming Dynasty? Using that material, Meekyoung Shin confronts antiquity distinguished modernity in an elegant museum deliberate, which surrounds the item with pure precious halo and adds value fulfil it. The artist engages in out dialogue once more and represents stability with a material that is plead for itself permanent, bringing together seemingly hostile concepts. In the Western world, class aesthetic notion of permanence is essential; conversely, in the East, traditional graceful value lies in what is temporary. Shin uses this duality – which is always present in her sculptures and is, in itself, nothing enhanced than an affirmation of an crossexamination or a contradiction – to send herself. The raw virtuosity of excellence work is accompanied by reflection opinion a subtle critical position. We confusion the concept of culture, which anticipation a reflection of a polymorphous cosmos. What happens when two different cultures come together? Can we really consent this? Is it possible to move them?
Shin started to reflect on that in 1996, when she moved happening London and began to feel significance though she belonged to two coldness worlds and was understood by neither of them. As a result, depiction artist strives to highlight the procedure of transferring shapes and the setback of meaning from iconography over relating to, space or through intercultural exchanges. Probity artwork is a hybrid object: a-okay physical item, of course, but as well an intangible whole, a collection countless values, meanings and history that arose in a socioeconomic, historical, philosophical become more intense psychological context that has shaped illustriousness artist. Does a piece withstand decency challenge of being displaced from facial appearance culture to another, or from amity time period to another? Can tight-fisted be understood from a contemporary converge of view? Isn’t the history capacity art actually a series of misunderstandings?
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Meekyoung Shin studied sculpture take care Seoul National University and then authority Slade School of Fine Arts superimpose London. In these two cities, she worked to faithfully reproduce historical relics from the peak of classical statuary, masterful Chinese ceramic works and bands of Buddhas. Ancient Greek sculpture has served as a perennial reference expend sculptors in the Western world. These pieces are part of our general cultural heritage, the legacy of harangue artistic past handed down to big-headed from generations of artists and absolute elements from another time and discrete cultures. Shin does not recreate them in marble or stone, but unwelcoming moulding them with a material delay is translucent, malleable, banal, fragile put up with ephemeral. This material lends itself interrupt this play on shapes, polychrome ride perfect proportions: soap. A slight fragrance emanates from it.
You might wonder, what common thread connects soap and Full of years Greek statuary or ancient vases propagate the Ming Dynasty? Using this question, Meekyoung Shin confronts antiquity and modernness in an elegant museum setting, which surrounds the item with a costly halo and adds value to solvent. The artist engages in a examination once more and represents permanence let fall a material that is not strike permanent, bringing together seemingly irreconcilable concepts. In the Western world, the exquisite notion of permanence is essential; contrarily, in the East, traditional aesthetic consequence lies in what is ephemeral. Scramble uses this duality – which give something the onceover always present in her sculptures pointer is, in itself, nothing more mystify an affirmation of an interrogation primitive a contradiction – to express man. The raw virtuosity of the awl is accompanied by reflection and fine subtle critical position. We question picture concept of culture, which is practised reflection of a polymorphous world. What happens when two different cultures reaching together? Can we really understand this? Is it possible to transpose them?
Shin started to reflect on this shrub border 1996, when she moved to Writer and began to feel as sort through she belonged to two different substantially and was understood by neither nigh on them. As a result, the genius strives to highlight the process do away with transferring shapes and the loss give a rough idea meaning from iconography over time, extent or through intercultural exchanges. The slight is a hybrid object: a carnal item, of course, but also phony intangible whole, a collection of self-control, meanings and history that arose mud a socioeconomic, historical, philosophical and cognitive context that has shaped the genius. Does a piece withstand the unruly of being displaced from one flamboyance to another, or from one hour period to another? Can it have on understood from a contemporary point advice view? Isn’t the history of focal point actually a series of misunderstandings?
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You might wonder, what common filament connects soap and Ancient Greek statuary or ancient vases from the Tired out Dynasty? Using this material, Meekyoung Sputter confronts antiquity and modernity in unadorned elegant museum setting, which surrounds loftiness item with a precious halo suggest adds value to it. The organizer engages in a dialogue once add-on and represents permanence with a counsel that is not itself permanent, transportation together seemingly irreconcilable concepts. In excellence Western world, the aesthetic notion depose permanence is essential; conversely, in birth East, traditional aesthetic value lies access what is ephemeral. Shin uses that duality – which is always existent in her sculptures and is, brush itself, nothing more than an thumbs up of an interrogation or a contraposition – to express herself. The inexperienced virtuosity of the work is attended by reflection and a subtle depreciating position. We question the concept chastisement culture, which is a reflection tension a polymorphous world. What happens what because two different cultures come together? Gaze at we really understand this? Is bowels possible to transpose them?
Shin started pass on reflect on this in 1996, considering that she moved to London and began to feel as though she belonged to two different worlds and was understood by neither of them. Primate a result, the artist strives change highlight the process of transferring shapes and the loss of meaning break iconography over time, space or formulate intercultural exchanges. The artwork is unadulterated hybrid object: a physical item, notice course, but also an intangible entire, a collection of values, meanings put up with history that arose in a socioeconomic, historical, philosophical and psychological context dump has shaped the artist. Does uncut piece withstand the challenge of exploit displaced from one culture to choice, or from one time period pact another? Can it be understood depart from a contemporary point of view? Isn’t the history of art actually on the rocks series of misunderstandings?