"I Use Chains At My Work to Describe Human Condition"

The second solo show of South Korean artist Seo Young Deok was held in Istanbul between November 6 and December 13 2014 in SODA İstanbul.

Doğan Gündüz realized the interview below with Seo Young Deok on November 12 in İstanbul. 

Doğan: When I was passing by SODA Art Gallery in November 2012 I had seen your exhibition by chance. Besides changing my way and going to the exhibition I had written a small article in the periodical Mesele with the impact of figures that were in my mind for days. After learning that your works have arrived again, my excitement recurred. Thanks to Ms. Miglena Bıçakçı who arranged this interview. First of all welcome to Turkey and thanks that you came. When I look at the general evaluations about your works it is said that your works were telling about the people who are cornered within the modern city life. However, from the body and facial expressions I see that such expressions do not only belong to the city person, they are reflections of postures, facial expressions whose roots go back to the old times, hidden in our genetic codes and are independent from the continents, countries and cultures. What would you say; do your works only reflect the people who are lost within the spiral of the city?

Seo: When I first began my work, I was gearing towards reflecting the people of the modern city life. This is because that is what my work was based off of – my view of the society I was living in after coming from the countryside. However, as my work progressed, I began to realize this, also. Like you said, the body and facial expressions not only belong to city people or a certain culture, but it is quite universal. I see this now as I spend my time in Istanbul – the busyness of people’s lives is similar to that of which I see in Seoul. This sort of sight is what causes me to see the universality in the movements and expressions of people everywhere. My work is now about all people and the relationships we have with one another. 

Doğan: Why do you prefer human figures, faces? What is the meaning of human body for you? Also what attracts my attention is that these bodies mainly belong to the young men or women. We do not see deformed bodies or faces at all? Is there a special reason for this? 

Seo: I prefer human figures and faces because my work is about people and relationships. It is regarding the story of people. I didn’t want to make something suggesting ideas of humans (for example, creating a human in a box), but rather, I wanted to create something directly about the person, himself. My aim is for my work to seem like a mirror when the viewer sees it. I want the viewer to feel as if s/he can see his or her self as s/he is looking at the sculpture. This is why I only make sculptures of humans. I am not trying to push this idea on anyone, but just give that feel. For example, one of my mask pieces, is to seem like a persona. The chain material and expression of the face depicts the feeling of pain and endurance of this pain. I wanted to portray this to people and have viewers be able to see their own identity in my pieces. The reason I make a certain type of body (young men and women) is to depict a certain coldness, almost like a mannequin. The sculptures can seem cold and even, selfish, in this way and shape. I use a straightforward, steely person to express what I am saying, because this causes a type reaction different to one of, say, a warm, comfortable type of person. 

Doğan: After you create any one of your works, was there any occasion when such a work came across you with a different meaning that you thought of? Did you ever find out an aspect, a meaning of your work that you were not aware of when you created it, but became aware through the viewer and his/her interpretations? 

Seo: Creating a piece and preparing for an exhibition requires a lot of communication with other people, so yes, this happens quite often. I gain new perspective from others in this way. When I create a piece, I am quite flexible in accepting what the viewer thinks; I’m not going to try to force my perception onto the viewers. The viewer will see what s/he sees and everyone will have his or her own interpretation. However, I am not often swayed by others’ thoughts to the point of changing the meaning of my work. 

Doğan: Materials you choose when you are creating your works are really meaningful: Chains, links.  With regard to your choice of material in the brochure of your exhibition in SODA gallery in 2012, the following sentence was written: “he utilized metal chains to create the modern man. Chains were made by our civilization and created through mass production, one part in a massive piece of machinery. He considered each part of the chain a human cell and used the chains to create a human figure”. Actually, this is a very interesting point. On the one hand the subjects, namely the workers who are creating the objects of the modern life are at the same time reproducing themselves and are becoming objects of their products. The chain and the links you have chosen as materials is a very good metaphor to explain this vicious cycle. You say that you preferred to use the bicycle chains or the link because of this? Are there also other reasons why you prefer these materials?  

Seo: When I first began searching for material, I was looking for something new and unique. I thought about what could best express the human situation. I stumbled upon some bike chains thrown away clumped in a pile on the side of the road. The shape looked like it was twitching/fidgeting and through that, it seemed to have life.  The small bundle looked like it was moving. As I started working with chains, I became accustomed to it and developed a skill for working with chains rather than other materials. I believe it’s what I work with the best, and I think working with what you’re best at is the best thing to do. And so I came to talk about humans through chains. 

Doğan: Karl Marx has a famous saying: ‘The proletarians have nothing to lose but their chains. They have a world to win.’ Your sculptures are actually there with their chains/links. In some of your sculptures we see that the bodies are blown up, go to pieces around themselves, were not completed. At first glance even if this situation irritates the viewer, we perceive that the sculpture is freed, got rid of the emotion/thought squeezing it.  What would you say, will your sculptures be saved from their chains? Do you want them to be saved? 

Seo: One of the titles of my works is “Nirvana,” which is when one is released from many things. Perhaps this is the “save” which you are speaking of. You can read the body language of Nirvana 5, with the sculpture on her knees with palms open. I think this “saved” concept is up to your and the viewers’ interpretation. My work is my representation of the modern human story, and I simply hope that others can identify with my pieces as they see it. 

Doğan: The materials you use are not strong enough against the erosion of time. At the end you are using a material that will rust and melt away when it is exposed to humidity and heat. Although you know now that your material/work will disappear after many years, is there a special reason why you are insisting to work with this material? To me it seems that your works will continue their formation processes by themselves even after they leave you. Namely this erosion is just like the person who exists/disappears in a modern society by eroding more and more every day and your works continue to exist/disappear by eroding themselves. Am I mistaken?

Seo: As I mentioned earlier, I have been working with chains since I began sculpting professionally. So, I feel that I have become accustomed to how it can be shaped, etc. There are several reasons I use chains rather than other materials. For example, the way in which chains are linked with each other represents the relationships humans have with one another and how we are all interconnected. I see meaning behind the chain material, and that is the reason I work with it. I work with stronger materials, also, such as stainless steel. Regarding your latter question, that is a very interesting point, but it is not necessarily what I am trying to say. I am speaking about the present story of man rather than the future through my pieces. I will speak with you more about my thoughts on the future if we meet again at the next exhibition.

Doğan: When the human body decays worms begin forming and steadily move on it. From afar you see a body, you approach it, you see that that body is actually moving as a mass of thousands of worms, that it is alive, but that it is transformed into another living thing. Your sculptures do sometimes call in this thought from the subconscious. Link, namely what is within us, worms that bring us into existence are at the same time waiting for our disappearance impatiently. I am facing our own existence/disappearance when I view your sculptures. How much does the idea of human existence and disappearance affect you? 

Seo: You are right when you speak of the piece seeming as if it is moving as a bundle of worms or insects. That discomfort is intentional. As I mentioned, my work is about the human existence (the present situation) than the past or future (disappearance).

Doğan: In your sculptures extremely delicate and fine workmanship attracts attention. One is amazed to see and feel how a cold and solid metal changes form and reflects a human warmth and sensation.  This is your craftsmanship. Are the special tools, machineries that you technically utilize while you are working? 

Seo: Yes, many mention the juxtaposition of my work comparing the cold, hard material with the soft body positions and the human warmth you speak about. The chain is also used to depict the “cold” situation humans are in. I do think intentionally about my materials, tools, and techniques when I am working. Welding tools, hammers, plaster, etc… I use all the tools necessary for this process.

Doğan: Dystopia, Modern Times Infections and now Link. Name of your exhibitions are extremely plain like your works, but at the same time have that much strong meanings. Do you personally choose and give the name of your exhibitions? 

Seo: Yes, I do name my exhibitions myself. I continually think of what I want to convey and decide the name as I am creating the pieces. The names of my exhibitions are different, but at the base, there are lots of commonalities. All the exhibitions are different, but they are related to one another – there are links between the names. I am consistently speaking about humans and the relationships we have with one another. Dystopia was my perspective of the society I saw as I lived in the city while finishing my Master’s degree. Modern Times Infections was the result of searching for how to create and show my perspective through deeper, more meaningful pieces. And now Link, ironically, depicts how we are not alone but connected to one another. 

Doğan: How did you decide to become a sculptor? What was it that motivated you? 

Seo: My father was a tailor – growing up, I would often watch him work, which required taking measurements of the body. As I watched him, I was utterly mystified and was curious of this process. It created an eye for me to view the body shape and its measurements. Since I was young, I had much interest in creating something. Naturally, at one point, I had to contemplate and decide whether to pursue this path or become a sculptor. I decided to pursue this route of becoming a sculptor. Beginning in high school, I intentionally learned about sculpting. 

Doğan: Who are the artists that you are affected from and like, especially the sculptors? Do you know any Turkish sculptor? 

Seo: I don’t necessarily have a certain artist that I am greatly affected by. I do enjoy expressive, straightforward works. Unfortunately, I do not know many Turkish artists. It’s my first time in Turkey, and I’m here to see and discover Turkish artists. I am very much looking forward to being in Turkey. In Korea, Turkey is referred to as our “brother country.” I am excited to be here, look around, experience some of the way people live in Turkey. It is a meaningful place for art, as well. As it is where the east meets west, I am curious to see what sort of art is produced. I have heard it is very unique and interesting from fellow artists, so I really want to see what is here. 

* Click here to read the article in Turkish.