• KO
  • EN
  • Lee Yeonsook

    {"arrow":"true","pagination":"false","speed":"500","autoplay":"false","autoplay_speed":"3000","loop":"false","slide_to_show":"1","slide_show_ipad_swpr":"1","slide_show_tablet_swpr":"1","slide_show_mobile_swpr":"1","slide_to_column":"1","auto_stop":"false","centermode":"true","space_between":"0","animation_swpr":"slide","height_auto_swiper":"false","direction_swpr":"horizontal","vertical_height":""}

     

    On ne sait Jamais, 2020

     

    The thin layer of white clay smeared across the hospital’s floor mutates throughout the exhibition as it peels off and dries up in response to the room’s changing temperature and humidity. These surfaces simultaneously assemble and dismantle what belongs to the artist’s realm: sites of the past, memories, and landscapes of processes compounded through time. The abandoned and obsolete objects positioned within the specific site and new, organic relationships turn into silent gods overlooking the space. These objects, which appear like rusted waste material or unearthed archeological artifacts, are metal casts of mangrove tree pieces. They are displayed together with parts used during the casting process and are typically thrown away once the production is over. By bringing to surface aspects of life that often go unnoticed, the installation acts as a passage of recollection and re-presentation.