Lim Jong Seok,'So-nyeon: Breath of the Ashes, The Lost Season', 2021 

Artists Note

So-nyeon: Breath of the Ashes, The Lost Season

Filigree is a metalcraft technique which involves countless twisting of thin metal threads into intricate lace like patterns. Filigree as a technique is often overlooked due to being extremely laborious but the unique patterns and shapes achieved as a result compares to no other in it’s final form. It is also a technique which acts as the foundation to my practice.

For the past few years, I have been producing wearable works in form of insects, and in the last year especially, I have made efforts to be bolder with the colour, texture and arrangements of these wearable insects. In some instances, it involved applying paint, gold-leaf or even ottchil and following up with partially burning these off to achieve an interesting and unique result. I would often have to repeat these processes many times, if I was not satisfied with the results. The natural characteristics and colour of the materials would no longer exist, overlaid with the ashes, in which I found the results to be visually thrilling. These processes were often more interesting than the calculated outcomes and brought about a sense of tranquility to what could be more rigid creatures, due to the material quality of metal.

My third solo-exhibition, So-nyeon, focuses on the element of surprise, within a more calculated initial approach, furthermore employing a raw, organic-like surface application that exceeds the form and structure of an insect that we are aware of today.

As I start to put together the thin layers of threads, I cannot help but imagine the sparkling reflections in the sea horizons or perhaps the water skimming through my ankles, as I stand in the middle of a lake. The completed structures usually go through another round of transformation using the hammer and as the pieces thin out, the material stretches, following the flow of force and energy. This flow is almost like the disappearance of the water in low-tide. The repetition of irregular hammering marks allow the surface to become subtle as the distinct lines are no longer harsh. This to me, is like the traces of water that slowly disappear into the soft sandy surface, as like the high and low-tide. The forming of thread affected by the layering and repetitive mark making techniques allowed me to naturally imagine the tidal movements, in which brought about new opportunities and outcomes, presented through my exhibition, So-nyeon.