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Evolution Series Ceramic Sculpture by Suk-Jin Choi

机译:崔淑珍的Evolution系列陶瓷雕塑

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Two major concerns of Korean ceramics artist Suk-Jin Choi are memory and the trace of time. This is apparent from the titles of several of her solo exhibitions of the last few years, including "Old Tomb: Encounter of Tradition and the Present" (1998), "Trace" (2003), "Memory" (2004) and, most recently, "Evolution" (2005). The works in this last exhibition are part of an ongoing series of ceramic sculptures based on a tubular format of multiple parts. Richly colored, textured and glazed, sometimes with added stenciled patterns, they continue her exploration into memory, time and related themes. Such themes may seem rather arcane to most Americans because, as a society, we are so involved with the "new" as an idea and way of being in the world that the past does not loom large in our consciousness. However, in a society like that of post-war Korea in which change not only has been rapid, but has been in the form of Western modernization, the "new" has collided with the past, challenging artistic and social traditions at many levels. This is especially visible in Seoul, where Choi received her M.F.A. degree in ceramics from Ewha Womans University. The few traces of Koreas ancient and even recent past that have survived in this modern metropolis act as poignant reminders of this change; they certainly seem to have influenced Choi's outlook and interests as an artist. Thinking about her work, I am reminded of something Heidegger once said. His interest in the arts was central to his philosophical enquiry into existence and our place in the world as human beings. In a lecture given in 1950 in war-ravaged Germany, he said "Only man dies. The animal perishes." What he meant was that human beings, unlike animals, are conscious of the passing of time; this consciousness makes us aware of the past and affords us a glimpse of the future and our impending death. For Heidegger, embracing consciousness as both a source of joy and as a burden was a vital part of being human.
机译:韩国陶瓷艺术家崔淑珍的两个主要问题是记忆和时间的痕迹。从她过去几年的几个个展中,可以很明显地看出这一点,包括“古墓:传统与现在的遭遇”(1998年),“痕迹”(2003年),“记忆”(2004年),以及大多数最近,《进化》(2005年)。上一届展览的作品是一系列正在进行的一系列陶瓷雕塑的一部分,这些雕塑基于管状的多个部分。色彩丰富,质感和釉面鲜艳,有时还带有附加的模版图案,他们继续探索记忆,时间和相关主题。对于大多数美国人而言,这样的主题似乎相当不可思议,因为作为一个社会,我们如此热衷于将“新”作为一种存在于世界中的想法和存在方式,以至于过去在我们的意识中并未消失。但是,在战后朝鲜这样的社会中,变化不仅迅速,而且以西方现代化的形式出现,这种“新”与过去相撞,在许多层面上挑战着艺术和社会传统。特别是在首尔,崔获得了M.F.A.学位。梨花女子大学陶瓷学士学位。在这个现代大都市中幸存下来的韩国古代乃至最近的几条痕迹,强烈地提醒着这种变化。他们当然似乎影响了崔的艺术家的观点和兴趣。想起她的工作,让我想起了海德格尔曾经说过的话。他对艺术的兴趣是他对生存以及我们作为人类在世界上的地位进行哲学研究的核心。他在1950年在饱受战争war的德国演讲时说:“只有人死了,动物才灭亡。”他的意思是,与动物不同,人类意识到时间的流逝。这种意识使我们意识到过去,并瞥见了未来和即将来临的死亡。对于海德格尔来说,将意识既作为快乐的源泉,又作为负担,是人类的重要组成部分。

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