Fiction of the Fabricated Image / Seon Ghi Bahk

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Appreciation towards Zadok Gallery for providing the following description:

韩国艺术家Seon Ghi Bahk最近在Zadok画廊完成了一组名叫“Fiction of the Fabricated Image”的作品。
Recently, Korean artist Seon Ghi Bahk finished a series of works named “Fiction of the Fabricated Image” in Zadok gallery.

艺术越来越难。做艺术的年限越久就越发觉得困难。其原因就是艺术是通往本质的途径。

我最近的作品突出强调了文化和自然的关系。文化是人类不断寻求便利创造出的文明世界，而自然是广袤宇宙呈现出的一种天然状态，不受人类力量的控制。人类与自然的关系源于文化与自然的关系。

我的作品十分突出地体现了人类与自然的关系。我选择了人类居住和活动的载体—建筑来表达文化，并选择了树木在世界上的最终面貌—木炭来表达自然。选择这两个元素是因为强调实用性的建筑结构和作为自然最终面貌呈现的木炭能让我思考出不同的形状，表达丰富的内涵。

在我看来，如果西方物质文明世界的人们将人类作为世界中心甚至整个宇宙的导向将是十分错误的。与树木一样，人类不过是存在于大自然中的另一种物体。因此，人类必然与自然共存，人与自然关系的天平不能向任何一边偏移。如何看待隐藏在现代人类所创造的灿烂文明背后的自然?带着这个疑问，我开始了创作之旅。精细、轻盈和几乎透明的尼龙线构成了大体结构。尼龙线上有序地串联着大自然的能源—木炭块体，形成消逝在空气中意象。这种结构表达了形象的虚构概念，与人类强调的实用性恰好相反。对我来说，木炭展现了大自然，透过其物质表象深层次地揭露了木炭是树木自燃或地质燃烧后的残留物的事实。现在木炭成为我的创作素材，其构形带来了不一样的表现力。最终，木炭成为建造房屋的砖块。

随着时间的流逝，作品表达的含义会在视觉上慢慢转变为简单而轻盈的物质。悬挂方式是渗透于内部环境和建筑，以及木炭轻盈质感的诗意表达。

Arts has become more difficult year by year. The more years have passed doing my arts, the more arts gets difficult. The reason is that the nature of arts is a way directed to essence.

My recent work has highlighted the stories about the relationship between culture and nature. Culture is the civilized world where human beings seek convenience, whereas nature is the state naturalized by a dispensation of the universe that is far from man’s strength. It is the relationship between man and nature that naturally derives from the relation of culture and nature.

The relationship between man and nature have been expressed aggressively in my work. To represent culture, architecture culture in which man dwells and acts, is chosen, and to represent nature, charcoal, the last appearance of trees that stand with us in the world, is chosen. Why? It is a self-evident truth that I can think of a great number of meaning and forms because of architecture structures being depended upon usefulness and charcoal being one of last appearances of nature.

I think it is wrong if man in western materialized culture draws every center of the world including the whole dispensation of the universe to mankind. I think that man is no more a different object than a tree that exists in nature, so that it is inevitable that man should co-exist with nature without tilting his balance into either ways in the relationship of man and nature. How do you see nature, concealed behind a history of splendid civilization which has been built by contemporary mankind? On this premise, the form of this work has rooted. Strongly presented structures are the strings of nylon that are very subtle, light and nearly transparent. In the space, the nylon enumerates logically lumps of charcoal being energy in nature that symbolize vanishment into air. This structure expresses the fiction of fabricated image as a concept against usefulness man uses. To me, charcoal reveals a field of nature, concealing, deeply down from charcoal’s surface, the fact that charcoal is residuum after a tree burned in natural or geological combustion. Eventually, charcoal is material in my existence conditions, and out of this material does the derived effects complied with the presented forms start. In the end, charcoal becomes brick that makes a building.

As time passes, that is manifested in my work has been transformed, in the sense of sight, into simple and light material.
Hanging is a poetic expression that penetrates inherent environment and architecture, and irresistible lightness of a piece.

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