The “voice of silence” is drawn from the Korean custom
In his final solo exhibition, Voice of Silence, at Friedman Bendaartist and grasp grasp Byung Hoon Choi Invite spectators to expertise an area for inside reflection. Ranging from Zen Buddhism, Taoist philosophy and Korea traditions of humility and restraint, Choi’s new physique sculptural The works open a dialogue between tranquility and vitality, presence and reminiscence.
–It’s mentioned that nature is silentthe artist is mirrored throughout a interview With Designboom, ‘However on this nature there’s a big vitality. This rigidity between tranquility and energetic animates every edge and floor within the exhibition, the place the monumental basalt works and quietly commanding the picket cupboards appear to buzz. Voice of Silence will likely be seen between March 27 and Could 23, 2025 at Friedman Benda’s New York gallery.
Set up of Friedman Benda and Byung Hoon Choi Izzy Leung photograph, video © Designboom
The expression of tactility of uncooked supplies
As Byung Hoon Choi illustrates Friedman BendaHis supplies converse for time. Basal, fashioned in fireplace tens of millions of years in the past, turns into the floor by which Choi escapes what he calls “a persistent picture of origin.” Within the affiliation of this primordial materials with wooden, the real-shaped, contemplative types, harking back to the scientist furnishings from the Joseon-Ele period bases its work within the Korean design custom, because it presses it in a brand new sculptural language.
–I attempt to specific the floor of the pure stone as discovered‘The artist Clarify, drawing a distinction from extra Chinese language and Japanese ornamental traditions. The result’s a visual cultural excavation: Korean historical past, careless and elementary, revealed by the tactility of the gross type.
Supplies are extra than simply issues. They bear vitality, intention and philosophy. He approaches each stone and a bit of wooden not with a preordinated design, as a humble listener. –If a stone type seems, I observe this way to create one thinghe says. This receptivity is the echo in its respect for softness, each bodily and emotionally: diffuse illumination of the gallery house, the curtain -like installations that counsel a mysterious fog. The work refers much less to the creation of an announcement and extra in regards to the compensation of the house for considering and for peace.
Set up of Friedman Benda and Byung Hoon Choi Izzy Leung photograph
The philosophy of Byung Hoon Choi carved in stone
Even after many years of educating and publicity, Byung Hoon Choi continues to hunt shock, inspiration and renewal. His recommendation to younger artists is to say: ‘Set sure limits for you, then flip these limits. In some ways, the voice of silence is an embodiment of that ethos. It resists a straightforward classification – between artwork and design, sculpture and furnishings – and as an alternative it distilts an essence, one that’s basically Korean and quiet.
–Every thing is feasibleSays Choi. And in that spacious, carved from stone and shadow, silence is formed and a voice is given. Learn on to find Designboom’s full interview with the artist through the opening of Voice of Silence at Friedman Benda.
Set up of Friedman Benda and Byung Hoon Choi Izzy Leung photograph
Designboom (DB): How do you interpret the phrase “Voice of Silence?”
Byung Hoon Choi (BHC): It’s mentioned that nature is silent, however on this nature there’s a big vitality. The supplies I exploit are pure, and thru them, I strive to attract a deep feeling of vitality. It displays an Jap philosophy – one that doesn’t specific itself exterior in a shiny approach, however relatively holds one thing inner and profound.
As an alternative of boasting an excessive amount of or making an attempt to current myself excessively, I want to maintain my values inside and search a way of depth – that is the tendency of my work. So, this kind of expression doesn’t come from a egocentric place, however relatively from one thing pure. It’s not about forcing or exaggerating issues – simply letting or not it’s as they’re. I do not attempt to look artificially or get rid of something.
DB: What’s your relationship with Zen Buddhism and Taoism?
BHC: Ever since I used to be younger, my dad and mom and my grandparents had been all of the Buddhists. So I went to temples many instances. I believe it is a rooted factor within the primary mentality of Korean individuals, traditionally talking.
Throughout the Joseon dynasty [the last dynasty of Korea, reigning from 1392 to 1910]Which was an period of Confucianism, scientists had the advantage of humility, to not present their data about science or different areas. Advantage of modesty. A humble perspective. This was the posture, the mentality, which the intellectuals of the Joseon period saved in the direction of nature and the world round them.
Set up of Friedman Benda and Byung Hoon Choi Izzy Leung photograph
DB: You described Stone as a “after imagining of origin.” May you elaborate what this idea means to you?
BHC: To ensure that this stone to be fashioned, it took a interval of unimaginable time, billions of years. It is sort of a remnant from the start of time, from the Huge Bang period, when humanity had solely been born. It’s one thing that has been fashioned all through the billions of years and, providing -new contact at the moment, I create a brand new worth. It’s as if you happen to resurrect the traces of the start.
DB: Are you able to describe your basalt and wooden use collectively?
BHC: For me, whether or not it’s stone or wooden, I do probably not distinguish the kind of materials. Subsequent is the feel of the stone or the actual properties of the wooden – what you might name its materiality. Once I take a look at the basal, I discover that there’s just one stable piece. So, after I use that solely piece, if a stone form seems, I observe that form to create one thing.
Set up of Friedman Benda and Byung Hoon Choi Izzy Leung photograph
DB: How does your sensible intercultural conferences form you?
BHC: Once I was younger, I skilled lots of historical areas of Maya and Incan cultures, in addition to Roman and Greek ruins. Once you go to the ruins, the stones within the collapsed buildings are scattered all over the place. Perhaps there are even a number of inscriptions on them. And in Korea, the outdated temples – the picket buildings at the moment are lacking, destroyed by fireplace and solely these stone stays are left behind.
I attempt to discover my very own identification within the Korean identification – a unique identification from China and Japan and distinctive for Korea. I’ve seen many similarities between these cultures, however after touring everywhere in the world, I wished to deal with Korean heritage by my work.
I need to distinguish the cultural parts between Korean tradition and Chinese language and Japanese cultures. They could appear related, however there are variations. I need to uncover the Korean essence and incorporate it into my work.