 
4 SQUARE
October 18 - November 13, 2002
Gallery Korea is pleased to announce the presentation
of 4 Square, one of a series of
exhibitions formed from art selected by a jury of
curators and critics. This year’s jury was
comprised of Sabine Rewald, Associate Curator of
Modern Art at the Metropolitan Museum, Christopher
Phillips, Chief Curator of the International Center
of Photography, Hyunsoo Woo, Assistant Director
of the Japan Society Gallery, David Ebony, Associate
Managing Editor of Art in America, and Gerard McCarthy,
Curator of Gallery Korea.
The painting and sculpture in this exhibition
feature compositional structures derived from
straight lines and right angles. Barbara Ellmann
creates dynamic images out of nine square panels
that are unified by color and design into dynamic
compositions. The circles and cruciform image
in several of these paintings resembles the complex
pictorial structures called mandalas that are
used in eastern religions. Evan Read’s crisp,
pale colored paintings are derived from his interest
in the arbitrary plethora of signage, logos and
other designed surfaces that proliferate in the
modern world. Antonia Di Giulio creates challenging
pictorial spaces with three colors and hard edge
geometric shapes. There is a quizzical template-like
character to the shapes and an ambiguous relationship
between background and foreground and.
Javier Cambre, who was included in this year’s
Whitney Biennial will exhibit a rudimentary architectural
model that explores the psychological space of
right-angled modernist structures. In this sculpture,
boxy rooms contain photographs and sound emerges
from speakers to recollect the complex influence
of apparently “neutral” white spaces.
The steel structures made by Lynden Cline also
resonate with psychological tension. In one work,
she situates a tower of diminishing circular cages
on a square platform containing a group of miniature
chairs.
Jean Rah and Unju Lee both work with tan colored
materials in squares but each produces art with
different characteristics. Rah uses square blocks
of wood that are facetted and sanded on one surface
and joined together in freestanding sculptures
and wall reliefs. The shallow spaces and carved
images create a tantalizing juxtaposition of the
geometric and the sensual. Unju Lee’s cardboard
squares are individuated by a variety of marks
and subtle touches of color. Circles, lines, and
layers are used to create a variegated yet unified
aesthetic language.
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