JISOOK KIM & HILDA SHEN: OROGENIES

金智淑与沈禾美：造山

Jisook Kim & Hilda Shen: Orogenies installation view. Photograph by Nadia Peichao Lin. © Jisook Kim and Hilda Shen, courtesy Fou Gallery.

Jisook Kim, Built Emotions, 2017. Wire, ink on Hanji paper, 90 x 38 x 13 inches ©Jisook Kim, courtesy Fou Gallery

Jisook Kim, Memory of Emotions, 2017. Ink, pencil, acrylic on paper, 19 x 24 inches ©Jisook Kim, courtesy Fou Gallery

Hilda Shen, RockStrata, 2003. Paper, Ink, wax, wood, 14 x 18 x 25 inches ©Hilda Shen, courtesy Fou Gallery

Hilda Shen, Range of Mountains, 2014-2019. Glazed clay, Variable dimensions, ranging between 1-4 inches ©Hilda Shen, courtesy of Fou Gallery

July 6–August 11, 2019 | 2019年7月6日—8月11日

Artist’s Talk | 艺术家对话: July 6, 2019, 4–5 pm

Curator | 策展人: Tansy Xiao 肖天时

RSVP to Opening

Artist

Jisook Kim
金智淑

Hilda Shen with her work Rockstrata (front) and Illumined I, II, III (back) ©Hilda Shen, courtesy Fou Gallery.jpg

Hilda Shen
沈禾美

Curator | 策展人

Tansy Xiao
肖天时

New York - Fou Gallery is pleased to announce Orogenies, a dual show featuring artists Jisook Kim and Hilda Shen from July 6 to August 11, 2019. An artist’s talk and opening reception will be held on July 6, 4–8 pm. Traversing among various mediums and in their own visual languages, the two artists narrate the tales on a mutual theme: the formation of mountains, whose spectacularity irrelevant to anthropic activities yet continuously gazed upon and delineated by humankind throughout history. Central to both of their practice is the reduction of landscapes into detached, isolated imprints of nature: an organic coalescence of both ethereal poetics and an allusion of eerie immensity.

Trained as a sculptor in its traditional sense in South Korea and experienced with wood, Jisook Kim offered a new shift in her oeuvre after her relocation to the U.S. and began to explore the potentials of lighter materials with more flexibility. Her recent body of work built with Hanji paper and steel wire orchestrate the entanglement of hypnagogic fine lines in an almost onomatopoeic manner, coating the pale skin of those monumental yet lightweight structures with condensed topographic patterns. The viewer can almost hear them whispering in the static serenity of the mountains, from which something mighty would emerge and announce its omnipresence.

While Hilda Shen’s sculptures resonate with the idiosyncrasies of Chinese scholar rocks, her prints are even less concrete. The negatives of the traces that incorporate the movements of the artist’s own body resuscitate the long lost memories of time: a subtle suggestion of the overwhelming brightness at the end of the tunnel, a wormhole that withholds the enigma of the firmament. With a customized platform that is slightly higher than average, the artist invites us to observe her miniature ceramics with an estranged eye. The tiny mountain-like figurations present themselves in desolation, quietly yet assuredly, with a restrained palette, as if they were the prelude of rejuvenation on a post-apocalyptic land.

Through their diverse approaches yet with the shared characteristics of layered simplicity and reserved spontaneity, the artists on display query the viewer to interrogate their perceptions of nature, of time, in and beyond an ineluctably mortal context. Lacking the determinate, prominent, and complete boundaries, mountains evidence the chronic crustal movements of which the results are not yet final: in essence, the process of continuity that inhabits time at a different pace compared to ours.

Accompanying public program will be held on July 20th at 3 pm featuring theremin performance by Rafael Carrasquillo.

纽约 - 否画廊荣幸地宣布，我们将于2019年7⽉6⽇⾄8⽉11⽇举办金智淑与沈禾美的双⼈展《造山》。展览将于7⽉6⽇举办艺术家对话和开幕酒会。两位艺术家在不同的创作媒介间游弋，以各自独特的视觉语言娓娓道来一个共同的故事：山的诞生与形成。不受人类活动侵扰的宏大山景自古以来不断被瞻睹和描绘。二人创作中的共性是将景物抽丝剥茧，兼合超然象外的诗意与生死契阔的无垠，勾勒出茕茕孑立的映影。

金智淑在韩国接受传统雕塑训练，熟稔木雕技法。而在移居美国后其创作生涯发生了转变，开始尝试更为轻盈和灵活的材质。她最近的几组由高丽纸和钢丝架构而成的作品以一种近乎拟声的方式绵密地呈现着错杂繁复的线条，将形同巨碑却薄如蝉翼的高丽纸装置覆上等高线状的图纹。观者仿佛能身临其境，目睹一股强大而肃穆的力从山之静谧中升起，并朝世界宣告它的遍迹。

沈禾美的雕塑作品与传统中国假山的嶙峋有异曲同工之妙，而她的版画相较之下更为抽象。艺术家用自己的身体运动在画面中留下带有触感的印记，久已遗忘的时间记忆随之复苏：一场对于隧道尽头的强烈光明轻描淡写的暗示，亦或是虫洞中藏匿的琼楼玉宇之谜。为展示她的陶瓷作品，艺术家专门设计了微高于常规的展台，并邀请我们以疏离之眼察看那些小山状的形体。它们安静而笃定地伫立着，身披质朴无华的色泽。如同一首序曲，谕示着万物覆灭后由殷墟上复生。

两位艺术家风格各异，作品中却皆透出层叠的简洁感和内敛的随意性。她们所展示的作品让观者在无可避免的俗世中内省自身对于自然与时间的感知是否真实。山峦没有确凿、显著而完整的边界，却无声的佐证着尚未终结的地壳运动：一种以与人类速率不同的脚步栖居于时间的延续性过程。

与展览作品相呼应，画廊还将于7月20日下午3点举办特别的公共活动——由拉斐尔・卡拉斯基罗带来的特雷门琴演奏会。

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