Chun Kwang-Young

signed in Korean and English, titled in Korean and English and dated 98 on the reverse

This work is in very good condition overall. There are no apparent condition problems with this work. Framed under Plexiglas and not examined out of frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Born in 1944 in Kangwon-do, Korea, Chun graduated from the Hong-Ik University in Korea in 1968, and later received his Masters degree from Philadelphia College of Art in 1971. His artwork reflects his intense involvement with both Western art and the rich heritage of his homeland.

 

The current work is from his well-known Aggregation series, first started in the mid-1990s. Created from thousands of triangular Styrofoam elements wrapped in ancient mulberry paper inscribed with calligraphy, which are then fastened to canvas, the end result is an evocative and beautiful relief work. Each work from the series is individual and varies in composition. The aggregate pattern that is formed is one which alternates between chaos and order: although each triangular element is in itself an individual entity, in its gathering and placement with those surrounding it, the triangles come together as a one field of monolithic unity. 

 

The work recalls memories of Chun's childhood, specifically when he used to visit his father who was a herbal doctor. This period was before the Korean War and the advent of modern medicine, when it was custom to hang medicine from the ceiling rafters in clusters to dispel dampness and discourage insects.  Each of these bundles was wrapped in mulberry paper inscribed with invocations for good health.

 

Throughout Korea's history, mulberry paper, along with its uses, has occupied a central place in daily and cultural life. It has also served as a charged symbol of emotional and spiritual experience, and as a conduit, almost, to the religious realm. The traditional Korean house was practically covered with mulberry paper, and many utensils and other objects were fabricated from it. It has also been used extensively for painting and calligraphy.

 

Inspired by both traditional Korean culture as well as his own personal experience, Chun's Aggregation Series is truly unique to him as an artist. As the ancient practice of herbal medicine gradually dies out, so too are its associated traditions lost. Through contemporary art, Chun manages to preserve this aspect of Korean cultural history. At the same time, he also reflects upon how human societies pattern themselves: the interplay of individual and the role of each in forming a common consensus with others.