The work of Korean-born sculptor and installation artist Myeongbeom Kim expresses serious environmentalist concerns. He frequently comments on the widespread threat to the natural world in the face of technological advancement and unabridged consumerism. Yet despite this his work often involves a certain surrealist wit proving that using art to approach serious subject matters does not mean you have to divorce yourself entirely from jocular tones.
You could read the work of Myeongbeom Kim in 2 main ways. Firstly, the glass-half-empty way translates the idea that the natural world is being held prisoner by our fabricated one. Following this further we would see that nature has been reappropriated by commercial forces and Myeongbeom Kim’s work is understandably cynical of this. The glass-half-full perspective might argue that the work represents a balanced marriage of both natural and man-made objects reminiscent f he ‘cybernetic ecology’ of Richard Braughton’s All Watched Over by Machines of Loving Grace.
The form of his sculptures exploits empty space to create a pseudo-minimalism and a stark feeling of the objects clinical isolation. This is juxtaposed with the visually playful side of the work. The use of multi coloured balloons and the absurd use of fish, teeth and carrier bags contrasts brilliantly with the use of bare, white space.
His last project was they 2014 exhibition SEESAW in Seoul but Myeongbeon has also shown work in USA, Europe and South America.
By Jamie Finn (@jamiefinn2209)
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