natural lacquer with pigments and structural colour and mother of pearl on salvaged plywoodFranz Kaka
Description
Human-crafted. AI-refined.
This circular artwork features a muted, earthy tone with a central motif resembling a lemon slice or geometric pattern. The overall composition is minimalist, with the textured surface creating a sense of depth and interest. The artist appears to have employed a subtle, understated approach, suggesting a contemplative or meditative quality to the piece. The historical context or the artist's intention behind this work may reflect a desire to explore the interplay between simplicity, natural forms, and the materiality of the medium. ...
HaeAhn Paul Kwon Kajander is the collaborative artistic practice of HaeAhn Kwon and Paul Kajander. Through the merging of their given and family names, they aim to challenge conventional identification categories, such as gender, ethnicity, and individualism, which are often reinforced through proprietary terms. Their artistic work is characterized by a responsive approach to installation and assemblage, where research and conceptual exploration find expression through material improvisation. For instance, in their solo exhibition "maximum suffering along the way" (2019), driven by their ongoing research into the violent history of modernization in South Korea, they conducted experiments with traditional lacquer techniques known as ottchil. These techniques serve as a material and conceptual foundation for their new body of work, which delves into the burdensome history of urbanization. To embrace more environmentally sustainable materials, they have created a series of relief works utilizing the dry-lacquer technique. This technique involves layering glutinous rice powder, ottchil, linen, ash, and clay powder. The combination of unstable organic matter with lacquer offers several benefits, and possesses natural repellent properties against insects, enhancing the durability of the artwork.
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