Looking for a Lost Pebble
2007
Crystal
Steel, urethane paint, 160 cm diameter
Magic Mirror I & II
Two-way mirror, sensor, light panel, image film, 70 x 45 cm
Shell Sink
Shells, fiberglass-reinforced plastic, stainless steel, 140 cm high, 70 cm diameter
Fruit Tree Street Light
Steel, light, 450 cm high
Triple Bench I, II & III
Stainless steel
50 x 50 cm each
Willow Sister
Willow tree (planted)
140 x 70 cm
Black and White Playground
Enamel paint (playground facility changes its color from black to white every four months)
Abrupt Lookout Station
Steel, paint, 230 cm high, 120 cm wide
Big Yellow Hula-Hoop
Steel, urethane paint, 20 m diameter
Installation view of Anyang Public Art Project (APAP), Anyang, Korea
Curated by Franck Gautherot, Seungduk Kim, and Sungwon Kim
October 18 – November 20, 2007
Photos: Kim Yongkwan & Park Wansoon
Courtesy: Artist and Anyang Public Art Project (APAP), Anyang
A series of twelve related works were spread out across four adjacent children’s parks nestled among high-rise residential
apartment complexes. The parks create direct relationships between the neighborhood and its residents, serving as in-between
passages that are not visible or accessible from the main road. One special project was inserted in each section in order to
reflect both the context and the artist’s own sense of the place. While each park is fitted with the same playground elements,
Yang introduced subtle alterations, including Big Yellow Hula-Hoop, a painted yellow circle surrounding a playground; three
versions of Triple Bench, in which existing benches were joined together by stainless steel plates; Fruit Tree Street Light,
a street lamp with bending branchlike arms that borrows the vernacular of existing lampposts; Willow Sister, in which she
planted a young willow tree, a plant that has melancholic associations for the artist and that is not on the city’s official list of
trees to be planted in public spaces; and Black and White Playground, whereby the playground was painted white, then black,
changing every four months. In one of the most difficult and disturbing elements in the parks, the public toilets, Yang replaced
the bathroom mirrors with two-way glass, which, when illuminated (by lights triggered by a motion detector), reflected an image
of the park landscape strewn with origami objects. The sink became a giant shell sculpture, providing water. Together, these scattered
fragments quietly distinguished the otherwise anonymous character of the look-alike parks.
2007
Crystal
Steel, urethane paint, 160 cm diameter
Magic Mirror I & II
Two-way mirror, sensor, light panel, image film, 70 x 45 cm
Shell Sink
Shells, fiberglass-reinforced plastic, stainless steel, 140 cm high, 70 cm diameter
Fruit Tree Street Light
Steel, light, 450 cm high
Triple Bench I, II & III
Stainless steel
50 x 50 cm each
Willow Sister
Willow tree (planted)
140 x 70 cm
Black and White Playground
Enamel paint (playground facility changes its color from black to white every four months)
Abrupt Lookout Station
Steel, paint, 230 cm high, 120 cm wide
Big Yellow Hula-Hoop
Steel, urethane paint, 20 m diameter
Installation view of Anyang Public Art Project (APAP), Anyang, Korea
Curated by Franck Gautherot, Seungduk Kim, and Sungwon Kim
October 18 – November 20, 2007
Photos: Kim Yongkwan & Park Wansoon
Courtesy: Artist and Anyang Public Art Project (APAP), Anyang
A series of twelve related works were spread out across four adjacent children’s parks nestled among high-rise residential
apartment complexes. The parks create direct relationships between the neighborhood and its residents, serving as in-between
passages that are not visible or accessible from the main road. One special project was inserted in each section in order to
reflect both the context and the artist’s own sense of the place. While each park is fitted with the same playground elements,
Yang introduced subtle alterations, including Big Yellow Hula-Hoop, a painted yellow circle surrounding a playground; three
versions of Triple Bench, in which existing benches were joined together by stainless steel plates; Fruit Tree Street Light,
a street lamp with bending branchlike arms that borrows the vernacular of existing lampposts; Willow Sister, in which she
planted a young willow tree, a plant that has melancholic associations for the artist and that is not on the city’s official list of
trees to be planted in public spaces; and Black and White Playground, whereby the playground was painted white, then black,
changing every four months. In one of the most difficult and disturbing elements in the parks, the public toilets, Yang replaced
the bathroom mirrors with two-way glass, which, when illuminated (by lights triggered by a motion detector), reflected an image
of the park landscape strewn with origami objects. The sink became a giant shell sculpture, providing water. Together, these scattered
fragments quietly distinguished the otherwise anonymous character of the look-alike parks.