Archive: Saatchi Gallery
Our top 10: Massive organic sculptures by Jaehyo Lee (이재효)

Our top 10: Massive organic sculptures by Jaehyo Lee (이재효)

Jaehyo Lee 이재효 - 0121-1110=193061, 1993, stones
Jaehyo Lee0121-1110=193061, 1993, stones


Jaehyo Lee (b. 1965, Hapchen, South Korea) graduated in 1992 with a BFA from the Hong-Ik University in Seoul. Combining distinct traces of Land Art, Arte Povera and Minimalism Lee´s works cast a questioning eye over the roots of form, its function and its role within the natural world.

Lee´s works willfully play with the oft-contested boundaries between modern art and design, referencing the idealist´s cubes, cylinders and cones as perversions of the chaise longue, the coffee table, the lampshade, and even the humble doughnut. Revealing a subtly humorous and unsentimental attitude to nature, what unites these works is a belief that the beauty of art is a product of the labor from whence it comes, whether this be the meticulous carving of larch trunks into the form of a perfect sphere or, equally, the precise bending and sanding of thousands of nails hammered one after another into a hunk of cut lumber.

Artist’s Statement

“Until recently, my work has been about combining wood with nails or steel bars and integrating them into geometrical shapes such as spheres, hemispheres, or cylinders. Whenever I did this, one of my problems was to keep the nails and bolts out of sight. Now, on the contrary, I put an emphasis on the nails themselves. I drive countless nails into wood, bend them, grind them, and make them protrude. I then burn the wood, blackening its growth ring records and its natural color. The glittering metallic nails on the black charcoal become ever more conspicuous, and through this process, I draw a picture on wood using nails. Those who make a hard living may be the ones who make this world a beautiful place. I certainly do not have the power to make it beautiful. I just hope to reveal the beauty in what is usually seen but not noticed. It may be a rusty bent nail. If you take a close look at it, however, you’ll find out how beautiful it can be.”
-Jaehyo Lee

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Iraqi painter depicts the impacts of war – Hayv Kahraman

Iraqi painter depicts the impacts of war – Hayv Kahraman

Hayv Kahraman - Curfew, 2015, Oil on linen, 185x244cm, courtesy the artist and The Third Line
Hayv KahramanCurfew, 2015, Oil on linen, 185x244cm
Courtesy the artist and The Third Line

Hayv Kahraman was born in Baghdad, Iraq in 1981, moved to Sweden at the age of 11 and began painting at the age of 12. She uses art in various ways to create something that is extremely unique and catching. Kahraman’s artwork depicts the impacts of war, significantly the affect on war women. Her diverse stylistic references range from Japanese and Arabic calligraphy art nouveau, Greek iconography and Persian miniature.

Hayv Kahraman’s work contends with the marginal spaces between Western and Middle Eastern culture, including the physical traits and the concepts of gender through her individual histories as an Iraqi immigrant to Europe then to the United States. Her work has intertextual notes of the Western and Middle Eastern art histories, but her personal aesthetic, as an immigrant, is of her very own and belongs to neither.

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Entire museum buildings covered by jute sack

Entire museum buildings covered by jute sack

Ibrahim Mahama - Untitled (K.N.U.S.T.)
Ibrahim MahamaUntitled (K.N.U.S.T.), 2013 (Detail), Jute coal sacks, dimensions Variable

About Ibrahim Mahama

Ibrahim Mahama is an artist born and working with Ghana. His installation works using Jute sacks (reappropriated material he has purchased from markets, which were first cocoa sacks and then coal sacks) are the result of his investigation of the conditions of supply and demand in African markets. Torn, patched, stamped with PRODUCT OF GHANA, and written over with owners’ names, the bags are variously marred, marked, and transformed. These installations are displayed in Ghanaian markets as well as galleries, thus defying the artifacts’ intrinsic value system. Ibrahim uses the coal sacks as a device to explore process, material, value, and meaning. He creates an artistic vision out of a commonplace material, repurposing them and exhibiting them in the very marketplaces from which they came.

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