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Installation art, unlike the traditional forms of painting, photography, and sculpture, may seem unfamiliar to many. Defined as a genre of contemporary art where objects and devices are used to create a space, altering its structure to transform the entire area into an artwork, installation art is gaining prominence. Prominent installation artist Eun-Kyung Lee, actively working in New York, describes it as “a form of art that allows the artist to freely configure space according to their desired method of expression.”
Installation art offers a unique experience where viewers can physically enter the space to experience the art that flows throughout. Delve into Eun-Kyung Lee's series, Paw and 9ftx12ft.
Artists often develop their work in series, with each series varying in the number of pieces and methods employed. Choices in materials and exhibition styles also differ.
Utilizing the imagery of a giant cat's paw, the artist creates surreal scenes captured through photography, conveying her thoughts and intentions.
Displayed in January 2017 at the Art Mora Gallery Project Room in Chelsea, this series is titled after the dimensions of a typical small Manhattan apartment room. It showcases spatial transformation through installation art.
Photo Caption: The work recreates the wooden floor of a Brooklyn apartment, casting another floor within it to resemble an entrance to another world. Close-up photographs of streets from Brooklyn, Manhattan, and Montreal on the walls blur the distinction between floor and wall spaces.
Eun-Kyung Lee graduated from the Department of Sculpture at Hongik University and studied Toy Design at the Fashion Institute of Technology (FIT) in New York. She has actively participated in installation art projects across Korea, New York, and the UK. Seeking inspiration and rejuvenation through travel, she recently visited Tromsø, Norway, and is currently immersed in a new project inspired by the experience, to be showcased at the P339 Gallery in Williamsburg, Brooklyn, this October.
For artists, muses are fundamental sources of inspiration, as seen in Lee’s work Paw, where a giant cat serves as her muse. She collects feelings and imaginations from everyday life, molding them into a coherent concept and then transforming them into a series of artworks. She candidly admits that her art often feels like a vulnerable exposure of her inner self, urging artists to embrace even their embarrassment as a bridge to further creativity.
Although artists express personal concerns and emotions through their work, allowing the public to glean insights, Lee honestly admits to not knowing the secret to securing public empathy. She desires viewers to appreciate her art without difficulty or burden. An open mind and heart are essential, she suggests, as the feelings evoked are small joys gleaned from art.
Numerous other competitions and group exhibitions have featured her works.
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