Soft Crash by Kim Byoung-ho
Written by Kim Kyoung-ran, AMOREPACIFIC Museum of Art
Picture by photographer Lee Woo-hun
A giant structure that looks like dandelion seeds sprouting from a white wall greets visitors to the 1st floor lobby of AMOREPACIFIC Yongin Campus. It welcomes you with an exquisite sound and, as you get closer, the sound of a machine rises to a crescendo, creating the illusion that it is about to stick into you. This is Soft Crash by artist Kim Byoung-ho (1974~).
Kim Byoung-ho has created a unique world of artworks called 'sound sculptures.' He carves metal materials such as aluminum, iron and brass into a sculpture and adds a machine sound to them. Based on his own design, he fabricates components in line with industrial standards before assembling them into a single piece of work. Through the course of fabrication, he explores the specialized and yet uniform structure of the material world and the real world. At the same time, his work embodies the inwardness of the invisible system and the many regulations that exist to maintain the economy of the human body and, indeed, human society. Kim then adds a sound that he himself has programed to the sculpture. The interplay of the sound is an acoustic and yet sculptured expression of different desires and fantasies of individuals living in a society governed by regulations.
Soft Crash is one such artwork. Its 30-diameter dome base is fixed on the wall, supporting 1,006 aluminum pipes arranged in regular order. Its form is deliberately reminiscent of a flower in full bloom, suggestive of the broad spread of energy sprouting from one spot of the universe. The Crash in the piece's title 'Soft Crash' refers to the brief moment of strong interaction between two objects or particles (beings) as they approach and come into contact with each other. It occurs in physical, emotional and psychological domains. Greeted by a sculpture in which metal material and intangible sound crash across several different domains simultaneously, spectators become participants experiencing their own visual and acoustic crash. The artist covers the end of 1,006 pipes with round caps. Kim uses the adjective soft to describe a type of crash that is beyond our recognition, among the countless physical, material and psychological crashes always possible in our everyday lives. Irregular machine sounds from the sculpture heighten our senses to the crash between desires growing from within us living each day, day to day through constant struggle and questioning.