© 2022


Performance view at Of Second Glances, Magma Maria Offenbach Gr, 2022 © Robert Schitko

Body, Space And Architecture: With Park Chae Biole

Artist PARK CHAE BIOLE / PB
Interview, Words GIORGIA BURZIO

Materials PAINTING, SCULPTURE, FURNITURE
Themes THE BODY AND ITS CONSTRAINTS, ARTISTIC RESEARCH
Location FRANCE, ITALY

15.06.22





Based in Paris, Park Chae Biole is an artist working across different media, including sculpture, painting and installation. She currently researches the body and its constraints within a space, where mobility is both dictated by movement and design of the body itself. Moving beyond the perspective of sculptures as objects estranged from reality, as well as mere functional objects, Park Chae Biole brings in her research practical and personal questions of body movement with an empathetic and poetic approach, that leads the audience to wonder about the objects identity.





The Walker (No.1), Metal, wood, oil on wood, wheels, 120 x 65 x 80 cm, 2019 © Wonwoo Kim
The Walker (No.2), Metal, wood, polystyrene, expanding foam, wheels, 120 x 45 x 27 cm, 2020 © Wonwoo Kim






Walker series.

Body and architecture, facilitation and constraint.


PB Ambivalence is actually a very important part of my work. The way I see and create is by always trying to consider both sides, something that liberates versus something that constrains for example. At first, I was interested in “helping” the body in a way. I created the Walker series thinking that it would help people that have trouble walking or that need aid in any way. And then I realized that it also becomes a constraint and that it limits the body when we walk freely because the sculptures are not completely functional.

So there was something that made us feel blocked. Almost like when you experience certain objects that are not made for you, like using crutches or wheelchairs. They can be an aid but for those who don’t need it, it becomes an obstacle. Trying to take in account both sides became a big part of how I reflect on my work, how I try to think from the spectator’s point of view too. Which is sometimes complicated because when you have an idea, and you create, you begin to focus on what you are searching, what you are trying to achieve and not how it can be perceived. 




Walker series.

Materials.


PB Since I was initially inspired by a real walker, I started by using metal as a base for the sculpture. And because I mix different mediums, painting was one of the main reasons why I used wood as the main element. It became the canvas of my sculptures. The Walker series is still in progress and every time I make one, I think of different ways to use materials. The first one was metal and wood, the second one metal and polystyrene, the third one was made out of wood only and the fourth one was made of wood and plexiglass.

What’s interesting for me is that with the series growing, I see the different aspects that I try to take into account. For example, for the last two walkers, my priority was the lightness and the economy of space. So I made both to have the possibility to be taken apart and put together. I think with time, I am more interested in using new materials, and especially in collaborating. So I would like to take this series further by collaborating with different people that have abilities I don’t have.






The Walker (No.3), Wood, wheels, 160 x 50 x 45 cm, 2021 © Park Chae Biole





Walker series.

Forms.


PB I think my work is related to furniture and interior design in the essence. Meaning that what preoccupies us is quite similar deep down. I personally think that furniture and interior design is something that drives and constructs the way we behave from a sociological point of view. The way we act and move in our daily lives is influenced by how objects are made. How these objects surround us defines the way we have to move, sleep, eat, clean, and so on. The impact that my work has is surely not as broad as these objects but the reason why I use these forms as an inspiration is because I am interested in using something that we are used to seeing, engaging with in our daily lives and transforming them to communicate something. I think that by using these everyday objects, it allows me to rethink, reinvent the way we are comfortable to see these objects and question their functions. We realize how everything we use, cars, toilets, beds, pretty much everything is adapted to a body that is “abled”. What I would like to attempt through my work is question these functions even though visually they are manifested in a much poetic way. Deep down, these are the links I created with furniture and interior design.

Also, using objects that we are used to seeing makes it easier for the spectator to interact with the artworks. Besides, on a more personal level, I have always been exposed to furniture because my parents have always been fascinated by furniture design so they have a lot of eccentric, timeless pieces in their house. And I grew up seeing them, using them and I have also seen how my mother interacts with them by being disabled. This was the starting point I guess.







The Walker (no.4), Wood, acrylic, wheels, 135x60x50cm, 2022. On the walker: Frida & Gyueme - book, 2020 © Dennis Haustein





Juxtaposition between sculpture, design and painting.


PB I have always been in fine arts, I went to fine art school, and the culture of art is what I have been exposed to for most of my studies and career. However, I was always curious about design and I had no fear in approaching it and using some design elements in my work. We could say that my relation to design is more naive. I definitely feel like I have a lot to discover and learn from the design field, and it’s actually the same in arts. The beauty of being someone who creates is that you have endless possibilities to learn new things! Which I think is something universal to anyone, but I think it’s rare to have a job where it’s part of your job to learn new things.

Concerning sculpture and painting, what I try to do is not put any limits between them, same as art and design. I would like to feel free in the boundary that I created and allow myself to experiment with these elements, especially to not limit myself and put labels on them. What can be a painting can also be a sculpture and what is a sculpture can be a painting as well. I think it depends on the “words” you use. That essentially defines what you make of them. For example, that is why I call the maquettes in my work; sculptures.







Passe-têtes series 2, Installation view from the duo exhibition at La Caserne, Paris, Fr, 2022 organized by Anne-Laure Buffard Inc.
Climb and Pause © Wonwoo Kim | Courtesy Anne-Laure Buffard Inc.




Maquette series.

Process, sculptures.


PB I think this is connected to what I was saying about language and using certain words. I have started making maquettes at one point as part of the process of making sculptures. So at that moment, the maquettes had a different status. They were just part of the process and not the final work.

But that’s also when I started questioning why they only have to be part of the process. I realized that for me, they were already sculptures that didn't have to be made in real life size sculptures and that they were enough as they are. This moment was a big turning point because it explained a lot of aspects in my work. The half-functional sculptures for instance, could be considered as “unfinished” but that is one of the big parts of my work that I have to assume. What I love about making maquettes and giving them the sculpture status is that they have so many possibilities. They leave a lot of space of interpretation and imagination to the spectator which is very important also.



Maquette series.

Environments.


PB About the environments I create in the maquette series, I get inspired by pretty much everything that surrounds me. But I am also very sensitive to the landscapes that I live in. I travel often and what touches me the most is nature. I think being able to transfer the feeling of being in nature is amazing.  But I also get inspired by architecture, houses, environments in which I have been. The boxes allow me to recreate what I have seen or felt in those moments. The boxes are like mobile sculptures/exhibitions. So they are meant to be moved around and the idea of having them on wheels is also for having the possibility to bring the exhibition (in the box) to someone who cannot come see it. It can go to them!

Their nomadic status is an important part of their identity.




No.1 Box & No.2 Box, Metal, wood, 76 x 228 cm, 2020 © Wonwoo Kim



Present, future.


PB I am currently challenging myself by working on new mediums like sound. I believe that this new project will bring a new layer to my work. I always try to experiment with new materials and mediums. And it’s surprising to see how by challenging yourself you can feel so stimulated, excited and happy. I am very excited about this aspect being added to my work.


What I would like to do is collaborate more. I think I’ve had enough time to focus on myself, my own work, and what I’m more gradually interested in is bringing others in my project. Adding another point of view, another touch. And learning from others. I have been collaborating more with my sister Dalle who is also an artist. We have been for the last 2 years, organizing exhibitions and working on mutual projects. The latest exhibition was a duo show organized by Anne-Laure Buffard inc, in Paris and it was entitled Climb and Pause, which was inspired by the idea of climbing a mountain, walking and taking pauses to rest, observe the landscape and breathe as we do when we see an exhibition. We worked in an atypical space called La Caserne in Paris where we did a insitu installation in staircases and also showcased our most important works together for the first time in France. It was an important moment for the both of us, and we are planning to collaborate more in the future. We each have different activities that are related to our own practices. However, we also have a new project coming up in Seoul in 2023 where we will once again collaborate and build something new together. I think this activity as a binome is an important part of my practice that helps me evolve in my work in a different way. It’s almost like we complement each other.


Otherwise, I honestly don’t know where all of this is leading me. I have always been focused on what I love doing and that has led me to different projects and challenges. I think I grew like that. I like to see my practice as the waves on the beach. They come and go, they are sometimes rough, sometimes soft. It’s the same in life I guess. I am trusting the waves and leaving me to them in a way.






Between floating furnitures: A variation, PVC, textile, acrylic paint, wood, clay, 140x45x35 cm, 2022 © Dennis Haustein


Park Chae Biole is a multi-disciplinary Korean artist, born in France. She has lived half of her life in Korea and is currently living and working in Paris after graduating from Ensapc (École Nationale d’art de Paris-Cergy) in 2020 with highest honors. She's also continuing her research in Université Paris 8. She mainly makes sculptures and paintings and she is interested in the idea of the body and mobility, often drawing inspiration from her biography, she has a poetic approach towards the body and nature. She is also inspired by the forms of furniture and everyday objects as a means of re-inventing our conceptions of the body from our objects.  

PARK CHAE BIOLE / INSTAGRAM / WEBSITE. IMAGES COPYRIGHT © ALL RIGHTS RESERVED.
 








Mark
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