![\"\"](\"https:\/\/static-edge.kiaf.org\/web\/2022\/03\/19001543\/%ED%81%AC%EA%B8%B0%EB%B3%80%ED%99%989.-Installation-view-Sang-Nam-Lee-The-Fortress-of-Sense-1.jpg\")
<\/p>\n2022. 3. 17 – 4. 16
\nSang Nam Lee<\/p>\n
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PKM Gallery is pleased to present The Fortress of Sense, a solo exhibition by Sang Nam Lee, from March 17th to April 16th. The exhibition features the newest and large-scale paintings that reflect the artist\u2019s mature skills, including a 3.8 meters wide panel work, which are displayed throughout the entire gallery spaces.<\/p>\n
Sang Nam Lee has collected icons and signs left by human civilization, and has created a unique \u201cabstract landscape\u201d by composing and combining numerous geometric symbols through \u201cchewing on\u201d these graphics. His artificial abstract paintings, which are produced in a meditative process of repainting and sanding down 50-100 times, reflect our lives in the 21st century where digital and analog coexist.<\/p>\n
![\"\"](\"https:\/\/static-edge.kiaf.org\/web\/2022\/03\/19001543\/%ED%81%AC%EA%B8%B0%EB%B3%80%ED%99%989.-Installation-view-Sang-Nam-Lee-The-Fortress-of-Sense-2.jpg\")
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In this exhibition, Sang Nam Lee presents undisclosed new works with an expanded pool of colors and a deeper sense of perspective. The senses accumulated inside the artist for more than 40 years have consistently encountered the confined materiality of a canvas or wood panel, resulting in an explosive actualization.<\/p>\n
\u2026 Compressed sensations are constantly piling up in front of us like a brick wall of hallucinations. Foucault urges; Remember the irony during the era of The Great Confinement, where lunatics were detained in thick walls but were \u201cliberated\u201d from the chains that held them down. Oppression and liberation coexist in Sang Nam Lee\u2019s painting. It is a solid but hysterically captivating fortress of sense. The artificial landscapes of Sang Nam Lee require extensive manual labor and at the same time flexibly move around the fields of painting, design, and architecture. They also exist in a manner that allows for various responses from the audience rather than forcing a fixed meaning or result. In the current era of image and information overload, Lee\u2019s works will grab the viewers\u2019 eyes, inviting them to a visual journey where imagination, entertainment, purification, and everything else is possible.<\/p>\n Born in Seoul in 1953, Sang Nam Lee graduated from Hongik University in 1978 with a major in Painting, and has been working and living in New York since 1981. Lee has held more than 20 solo exhibitions at national and international top-tier art institutions including Elga Wimmer Gallery in New York and Galerie \u00c5pert in Amsterdam, and participated in group exhibitions at the National Museum of Modern and Contemporary Art in Korea, Seoul National University Museum of Art, Smithsonian Institution in Washington, D.C., etc., as well as prestigious international art events such as the 3rd Mediations Biennale in Pozna\u0144 and the 15th Bienal de S\u00e3o Paulo. Art critiques of Lee\u2019s works have been published in internationally renowned journals such as the New York Times, The Wall Street Journal, Art Forum, Art in America, and Art Asia Pacific. His large-scale wall paintings are permanently installed at public institutions such as the Gyeonggi Museum of Modern Art, Embassy of Republic of Korea in Japan, and the lobby of the Pozna\u0144 airport in Poland.<\/p>\n PKM & PKM+ WEB<\/a>\u00a0 \u00a0 \u00a0INSTAGRAM<\/a>\u00a0 \u00a0 \u00a0Artsy<\/a><\/p>\n","protected":false},"featured_media":0,"template":"","categories":[50,51],"class_list":["post-12865","insights","type-insights","status-publish","hentry","category-insight","category-stories"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"en","enabled_languages":["ko","en"],"languages":{"ko":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights\/12865","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/insights"}],"about":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/types\/insights"}],"wp:attachment":[{"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/media?parent=12865"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kiaf.org\/en\/wp-json\/wp\/v2\/categories?post=12865"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n– Shinyoung Chung (art critic)<\/p>\n![\"\"](\"https:\/\/static-edge.kiaf.org\/web\/2022\/03\/19001543\/2.-The-Fortress-of-Sense-H-07-2021.jpg\")
![\"\"](\"https:\/\/static-edge.kiaf.org\/web\/2022\/03\/19001543\/%EC%9D%B4%EC%83%81%EB%82%A8-portrait-300x200.jpg\")
<\/p>\n
\n40, Samcheong-ro 7-gil, Jongno-gu, Seoul, Korea
\n+82 2 734 9467<\/p>\n