It is little surprise then that the Seoul-created South Korean
declares: “If one feels uncomfortable physically or mentally when viewing my work
, I would say it worked.”
The depth and sometimes grotesque fashion of the work of Choi has helped him stand out among South Korea’s increasingly varied contemporary arts arena. But in May he’ll make further inroads worldwide, revealing an exhibit at New York’s Doosan Gallery, where he’s at present finishing a six-month residency.
“There is a thread of fine craftsmanship that runs through his work, exquisite rendering,” states writer of the 2012 publication “Korean Contemporary Art” Miki Wick Kim. “And of course, good artwork embodies so many different things coming together — it can’t just be a tangibly gorgeous surface, it needs to have context and relevance.”
“I worked to convey the expressions of the hands: Giving power, supporting each other, rather than [trying to] make it look like
cutoff corpse hands,” he states.
Misinterpretation apart, Choi’s bigger issue has been previous accusations he used individuals with Asperger’s syndrome for his “Islet of Asperger”
chain, which was first presented in Seoul this year.
“Some one mentioned they might sue me over it…[that I ‘d] I dissed them, presenting them grotesquely. it took me plenty of time to get him [not to] ,” says Choi.
“I was only borrowing the name ‘Asperger’ because it’s a word that has two meanings: of having problems with communication but also
being very special,” he includes.
compliments than disapprobation is apparently coming the manner of Choi as of late, however, and Kim considers this will be only enhanced by his New York exhibit, along with add to the developing global understanding of Korean artwork.
“There are so many amazing Korean contemporary artists,” she claims. “It’s under-represented internationally… but it’s getting much better.”