Frieze New York: Suki Seokyeong Kang at Commonwealth and Council

Suki Seokyeong Kang's Dialogue with Tradition and Personal Connection

Suki Seokyeong Kang joins the conversation with Korean traditional arts, but with a unique twist. Her Frieze presentation features two works that bridge the gap between historical and contemporary.

Hwamunseok and Modernity

Central to her pieces are hwamunseok, the woven-reed mats traditionally used to define space in 19th-century royal court dances.  These handcrafted elements, commissioned by Kang herself, represent a deep respect for Korean artistic heritage.  However, she subverts tradition by embedding them within pastel-hued, industrially fabricated steel enclosures. This juxtaposition creates a dialogue between the handcrafted and the industrial, the past and the present.

Found Objects and Personal Narrative

Nestled between the two hwamunseok works is "Rove and Round–face" (2016-23).  This piece features a repurposed laundry hamper suspended from a painted steel structure.  Kang's artistry shines through the vibrant yarn woven onto the hamper's surface.  Interestingly, another similar work by Kang appears in Tina Kim's booth, hinting at a recurring motif in her practice.

Comfort in Creation

The origin story behind these woven works adds a layer of personal connection.  Kang began creating them during her studies at the Royal College of Art in London, a time marked by isolation and homesickness.  The act of weaving became a source of comfort, a way to reconnect with Korean artistic traditions that offered solace during her challenging experience abroad.

Overall, Kang's works presented at Frieze showcase a thoughtful engagement with Korean artistic heritage.  By merging traditional elements with contemporary materials and personal narratives, she creates a bridge between past and present, expressing both cultural connection and individual resilience.