ING HWANG
My work is a conversation I am having with machines. It’s an homage to the machine,
it’s a competition with the machine, and it’s me putting myself in the shoes of the
machine, and mimicking it. Architecture has always been a very important part of my
life, especially modern architecture following the ideas of Adolf Loos, who talked
about removal of unnecessary ornamentation; “The evolution of culture marches with
the elimination of ornament from useful objects,” in his Ornament and Crime. Only
modern architecture is essential because it is shelter, and there is no decoration, and
since I was a child I was fascinated with the feeling of calm and serenity this idea
brought to my life. I’m obsessed with this form because it allows ultimate growth
and evolution in that specific area without any distraction, and it allows ultimate
organization. I think it’s easiest for me to relate to architecture because it’s not so
organic and it’s easily replicable. I am not trying to create decoration for interior
space, for that would go against Loos’ ideas, but trying to take this philosophy and
apply to fine arts and this is my interpretation of this idea.
This will be the 6th set of forms I create that is 24” x 24” x 24”. I have added more
skeletal structure so the shell doesn’t warp, I have increased the time I have for this
set of works and so cuts will be more precise, and pieces will fit together with more
precision. I am not concerned with making new images, concepts, or themes, but just
different versions and stages of my formula worked on throughout the different stages
of my life.
My work is driven by introspective thought and meditation on themes of responsibility,
family, and machine process. I create my sculptures by building with shaped foam
core, and mat board, allowing their forms to take shape through a gradual process
of refinement that parallels individual development and coming of age. Beyond mere
formal studies, my work functions as a paradigm of my relationship with the universe, a
totemic physical manifestation of dedication and duty.
it’s a competition with the machine, and it’s me putting myself in the shoes of the
machine, and mimicking it. Architecture has always been a very important part of my
life, especially modern architecture following the ideas of Adolf Loos, who talked
about removal of unnecessary ornamentation; “The evolution of culture marches with
the elimination of ornament from useful objects,” in his Ornament and Crime. Only
modern architecture is essential because it is shelter, and there is no decoration, and
since I was a child I was fascinated with the feeling of calm and serenity this idea
brought to my life. I’m obsessed with this form because it allows ultimate growth
and evolution in that specific area without any distraction, and it allows ultimate
organization. I think it’s easiest for me to relate to architecture because it’s not so
organic and it’s easily replicable. I am not trying to create decoration for interior
space, for that would go against Loos’ ideas, but trying to take this philosophy and
apply to fine arts and this is my interpretation of this idea.
This will be the 6th set of forms I create that is 24” x 24” x 24”. I have added more
skeletal structure so the shell doesn’t warp, I have increased the time I have for this
set of works and so cuts will be more precise, and pieces will fit together with more
precision. I am not concerned with making new images, concepts, or themes, but just
different versions and stages of my formula worked on throughout the different stages
of my life.
My work is driven by introspective thought and meditation on themes of responsibility,
family, and machine process. I create my sculptures by building with shaped foam
core, and mat board, allowing their forms to take shape through a gradual process
of refinement that parallels individual development and coming of age. Beyond mere
formal studies, my work functions as a paradigm of my relationship with the universe, a
totemic physical manifestation of dedication and duty.
