Pocket of Life I, 50x50x160 cm (each), 2003, polyester, fiber, black light


Pocket of Life I, 50x50x160 cm (each), 2003, polyester, fiber, black light


Pocket of Life II, 20x30x8 cm, 2003 (each), polyester, fiber, black light


Untitled, 40x25x10 cm, 2002, polyester, fiber, black light


Waiting Souls, 1550x90x180 cm, 1994, polyester, fiber, black light


WHAT IS THE MU MU MU ..., 60x60x60 cm (each letter), 1991, mixed media


MU, 100x180x60 cm (each letter), 1991, mixed media


Body and Soul, 50x150x30 cm (each), 1990, mixed media


(Light + Time + Energy) Think = Work, 100x100x200 cm, 1990, mixed media


(Light + Time + Energy) Think = Work, 100x100x200 cm, 1990, mixed media



"Shaping of the Unknown and the Significance of the Insignificant"
von Jang, Kyung‑Hwa (Gwangju Art Chief Curator)

Fiber art owes its origin to the study of textiles.

With the development of materials came the evolvement of diverse concepts, and since the 1960s many artists were found active in this sector. Today, fiber art is an integral part of modern art.

Lee, Eunsook began her study in the fiber arts during this time. While preparing for her first exhibition in 1986 she sustained a severe burn an her face and arm, undergoing eight operations with the possibility of permanently losing the use of her right hand. She recalls this period as one of the darkest yet most productive of years as this was the time she contemplated death. Her works reflect pain and growth from the challenges she had faced both personally and professionally.

Lee's work first came to my attention in the 1990 exhibition, which marked a deviation from her earlier works. Her use of materials and the scale of her work progressed to incorporate the use of space. "What is the Mu Mu Mu‑ ‑ ‑" was an experimental approach in fiber arts with its new technique in production, installation and use of light. She employed the traditional Asian variegation to create western alphabet, suggesting the meeting and clashing of two civilizations and the emanating of a new kind energy.

The "Waiting Soul" (1994) is a large‑scale construction. Upon exhibition, this work transforms an anonymous space into a space of order and chaos in harmonious coexistence. The hand‑woven construct of polyester films is reminiscent of a cave found in nature which stimulates our imagination. This exhibition successfully demonstrated her originality and her understanding of the material she chose to use.

The "Umbilical Cord" (1996) is an ensemble of cords hand‑woven with strips of polyester films, neon threads and various fabrics, and is accompanied by the sound of heartbeat. The cords can only be viewed indoors with fluorescent lighting, and are arranged an the floor for viewers to freely interact with. Unlike what the name may suggest, the cords emit an aura of mystery along with lively energy. With the sound of fetal heartbeat, the symbolic womb generates an urge to explore the sublime within one' s subconscious.

Lee's project is a culmination of repeated manual labor through which she shapes the unknown world; it is a meditation of life and death, and a quest for what lies beyond,

She uses tangible shapes, such as the alphabets and the numbers, to convey messages from the subconscious to a world in which value is measured by numbers. Furthermore, she questions the significance of worldly accomplishments from the perspective of what lies beyond‑directing our attention to examine their insignificance.

Lee's recent works integrate the use of neon fabrics, lighting and acoustics, the tools by which she communicates with her inner self. Her unrestrained creativity enhances the language of expression, enabling her to articulate her concerns in her work. She is a prolific artist in whom I expect continued growth and development.


EunSookLee

1983 Master of Fine Arts, Hongik University , Seoul Korea
1979 Bachelor of Fine Arts, Ewha Women's University, Seoul Korea
Solo Exhibitions
2003 The 9th Solo Exhibition.Botschaft der Republik Korea, Berlin Germany
The 8th Solo Exhibition, Wooduk Gallery, Seoul Korea
1999 The 7th Solo Exhibition, Insa Gallery, Seoul Korea
1996 The 6th Solo Exhibition, Madame Polla Gallery, Seoul Korea
1994 The 5th Solo Exhibition, Gongpyong Art Center , Seoul Korea
1991 The 4thSolo Exhibition, Community Hall, Seoul Korea
1990 The 3rd Solo Exhibition, Gallery 2000, Seoul Korea
1989 The 2nd Solo Exhibition, Total Museum , Seoul Korea
1988 The 1st Solo Exhibition, Yoon Gallery, Seoul Korea
Group Exhibitions
2003 Fashion and Contemporary Art, Gwangju Art Museum ,Gwangju Korea
1997‑98 Triennale‑Germany and Korea, Museum für Frankfurt, Frankfurt Germany
1998 Triermaie‑Germany and Korea , Grassi Museum , Leipzig Germany
Triennale‑Germany and Korea , Seonjae Museum , Kyoungju Korea
1997 Fiberart International '97, Pittsburg Center for the Art, U.S.A
Korea‑Japan Fiber Art Exchange Exhibition, Fukuoka Museum, Japan
Korea‑Japan Fiber Art Exchange Exhibition, House of Izomae , Japan
1996 Small Expression '96, Gango Gallery, Portland , U.S.A
Dongah Open Arts Festival, Dongah Gallery, Seoul Korea
'96 Korea‑Japan Fiber Art Exchange Exhibition, Municipal Museum , Korea
1995 Fiberart International '95, Pittsburg Center for the Art, U.S.A
Korean Craft Council, Municipal Museum of Modern Art, Seoul Korea
'95 Crafts Today: Light and Form, Madame Polla Gallery, Seoul Korea
1994 Seoul Fiber Art Festival, Municipal Museum of Modern Art, Seoul Korea
Korean Craft Council, Municipal Museum of Modern Art, Seoul Korea
Seek of Treasure Exhibition, Batanggol Gallery, Seoul Korea
1993 Korean Craft Council, Municipal Museum of Modern Art, Seoul Korea
Seoul Fiber Festival, Municipal Museum of Modern Art, Seoul Korea
1992 International Contemporary Fiber Art, Seonjae Museum , Kyoungju Korea
Performance
1997‑98 Performance with Sound (Heart beat, Water drop) in Works,
Frankfurt, Leipzig and Kyoungju
2003 Performance with sound in works, Gwangju Korea
Rewards
Marianne for Award (Excellence in a Foreign Entry) at Fiberarts International '95 U.S.A
Innovative use of Materials Awarded at Fiberarts International '97 U.S.A