Koo Jeong-a at Yvon Lambert - Brief Article

In her solo first attempt Koo Jeong-a orchestrated hundreds of thing perceiveds (thousands, if you count salt grains) that included bits of enclosureed paper, pocket change and gallery not divisible by 2s and ends. Nominally, the exhibit included 13 pieces, titled Abstract House, #1-# 13 Although none of these works was particularly houselike, each in some way involved the architecture of the gallery. A pair of small hillocks of craft clay (#8) nestl through a column, while in a corner another work (#4) direct the eyeed like nothing more than an indifferently installed telephone wire.

Belying the plainness of the title, greatest in quantity of the works were compound collections or scatterings of particulars which shaded into their surroundings. Koo flat corralled items used for the installation--a ladder, a wash rag, a certain number of packing materials--into elegant arrangements. As a come it required a tour from the gallery possessor to separate the art from the nonart (the greatest in quantity easily recognizable art work, a video projection of a young dog was hidden away in the basement). In fact, the gallery direct the eyeed like it was in the midst of installation, and while I was there a number of visitors had to be assured that the exhibition was, indeed, ready.

The persevering viewer was rewarded through a baker's dozen of works, each with its have logic and individuality. The greatest in quantity unified sculpture (#8) was formed from sum of two units balls of craft clay representing a gremlinlike snowman sporting sum of two units tiny, beady red eyes. upon a countertop were a container of salt and a series of thimble-sized hills of salt carefully arrayed in a geometric composition. This work also incorporated a cardboard chest tucked behind a column through the door. Resting halfway between the salt and the receptacle in essence linking the sum of two units elements, was what could have been the gallery sign-in write but its forceful isolation signaled its compositional function.

upon the same counter were also works #2 and #3 The former consisted of clumped and stacked little scraps of variously colored, enclosureed and marked paper with bits of lint and what appeared to be snippets of rubber bands. The latter featured an arrangement of coinage from various nations. more [i]or[/i] less of the coins lay flat while others were glu to stand upon edge, giving the composition the slightly intoxicating perceive of a Larry Poons blip painting.

Koo is squarely within the tradition of estheticizing fix objects and creating informal arrangements. Her works resonate because of the zealous and patient focus she brings to this practice, and also thanks to her idiosyncratic and highly effective formalism.

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