Byoungho KIM has never ceased his exploration and investigation into “the role of artist” in practice. Turning on the experiment of audio playing through mechanical functions, he starts an all-round exploration of the type of “mechanical product” among all processes in sculpture media by means of skilfully applying metallic material and methods of industrial manufacture, thus pursuing a distinct sculptural language. Kim focuses on the clash of various aspects of material civilisation and universal values, meanwhile reveals the opposition and tension between nature and human, individual and community, homogeneity and difference.
The infinite duplication of unitary form is the aesthetic basis of Kim’s artistic practice. The artist constructs an abstinent systematic order by utilising geometric modules with well-finished surfaces. Countless metal components are accurately designed by computer programmes and manufactured in a mass-produced way. Instead of being welded together, they are assembled minutely according to the manual, demonstrating the contemporary social structure that’s organised through an orderly system of unitary conventions, standards and regulations. Within four spaces under staggered light and shade, the metal sculptures emanating a cold yet glaring sheen reflect each other, and twinkle in the sight of audience, bringing a feeling of enchantment. The electronic sound emitted by the metallic sculptures on display flows in a slow simple manner. The energy it brings along traverses freely between material and non-material, and visual and aural, allowing the viewer to gain a unique spiritual encounter and to experience a force that overpowers the space.