• Laurie Kang
  • CV
  • Her Own Devices
  • In Practice: Total Disbelief
  • Beolle
  • Eidetic Tides
  • Guts
  • Terrene
  • If I have a body
  • Asphodel Meadows
  • NADA House
  • Channeller
  • A Body Knots
  • Fascia Lines
  • Line Litter
  • How deep is your love?
  • Nesticulations
  • Knots
  • Babble On
  • The Mouth Holds the Tongue
  • Untitled
Laurie Kang
CV
Her Own Devices
In Practice: Total Disbelief
Beolle
Eidetic Tides
Guts
Terrene
If I have a body
Asphodel Meadows
NADA House
Channeller
A Body Knots
Fascia Lines
Line Litter
How deep is your love?
Nesticulations
Knots
Babble On
The Mouth Holds the Tongue
Untitled
Beolle
Oakville Galleries in Gairloch Gardens, Oakville
October 6 - January 5 2020

The work of Toronto-based artist Laurie Kang is rooted in an enduring concern with the body and the forces that shape it—political, affective and otherwise. Drawing on fields such as biology, feminist theory and science fiction, Kang stages installations that take up the body in and as a process, working with unstable, continuously sensitive materials that are functionally and metaphorically primordial and in flux.

In recent years, Kang has become known for her site-responsive wall sculptures, in which industrial materials such as steel studs and track are erected and skinned with exposed, unfixed photo papers to render scenes that are visceral and speculative in equal measure. Here in Beolle, the artist's first solo museum exhibition, she presents a series of seemingly deconstructed forms that turn away from the upright and toward the horizontal. Titled after the Korean word for “worm," Beolle largely grazes the floor, existing in a state between form and decay. From swarms of fermentation vessels to scattered casts of vegetal matter and knots of larval forms, the exhibition sees Kang engage closely with the conditions and structures of becoming, both systemic and organic.

Worm

Flex-C track, sand, cast aluminum shiso leaf, cast aluminum lotus root, powermesh

Mother
stainless steel mixing bowls, pigmented silicone, rubber, polymer clay, power mesh, paint can, cordyceps fungus, steel machinery, peach pit, lotus seed, pewter, cast aluminum ginseng, cast aluminum cabbage, cast aluminum peach pit, cast aluminum dried lotus root, cast aluminum Asian pears, cast aluminum clay forms, aluminum mesh, sand bag, plastic wrap, copper chainmaille (made by Hanna Hur), reflective foil, plastic bags, copper garden mesh, mung beans, water, dried fish bladder, dried magnolia fl owers, dried hibiscus, ground mung and adzuki beans, cast bronze, hats, rosin paper

Husk
cast aluminum cabbage leaves

Guts
Photograms, magnets

Bloom 
mesh fruit bags, polymer clay, paint cans, reflective sheeting, cordyceps fungus

Knot 
unfixed and unprocessed photographic paper and darkroom chemicals (continuously sensitive), aluminum tape, steel studs, hardware, cast aluminum dried anchovies

Molt 2019
unfixed and unprocessed photographic paper and films (continuously sensitive), sand bags, silicone

Beolle
Oakville Galleries in Gairloch Gardens, Oakville
October 6 - January 5 2020

The work of Toronto-based artist Laurie Kang is rooted in an enduring concern with the body and the forces that shape it—political, affective and otherwise. Drawing on fields such as biology, feminist theory and science fiction, Kang stages installations that take up the body in and as a process, working with unstable, continuously sensitive materials that are functionally and metaphorically primordial and in flux.

In recent years, Kang has become known for her site-responsive wall sculptures, in which industrial materials such as steel studs and track are erected and skinned with exposed, unfixed photo papers to render scenes that are visceral and speculative in equal measure. Here in Beolle, the artist's first solo museum exhibition, she presents a series of seemingly deconstructed forms that turn away from the upright and toward the horizontal. Titled after the Korean word for “worm," Beolle largely grazes the floor, existing in a state between form and decay. From swarms of fermentation vessels to scattered casts of vegetal matter and knots of larval forms, the exhibition sees Kang engage closely with the conditions and structures of becoming, both systemic and organic.

Worm

Flex-C track, sand, cast aluminum shiso leaf, cast aluminum lotus root, powermesh

Mother
stainless steel mixing bowls, pigmented silicone, rubber, polymer clay, power mesh, paint can, cordyceps fungus, steel machinery, peach pit, lotus seed, pewter, cast aluminum ginseng, cast aluminum cabbage, cast aluminum peach pit, cast aluminum dried lotus root, cast aluminum Asian pears, cast aluminum clay forms, aluminum mesh, sand bag, plastic wrap, copper chainmaille (made by Hanna Hur), reflective foil, plastic bags, copper garden mesh, mung beans, water, dried fish bladder, dried magnolia fl owers, dried hibiscus, ground mung and adzuki beans, cast bronze, hats, rosin paper

Husk
cast aluminum cabbage leaves

Guts
Photograms, magnets

Bloom 
mesh fruit bags, polymer clay, paint cans, reflective sheeting, cordyceps fungus

Knot 
unfixed and unprocessed photographic paper and darkroom chemicals (continuously sensitive), aluminum tape, steel studs, hardware, cast aluminum dried anchovies

Molt 2019
unfixed and unprocessed photographic paper and films (continuously sensitive), sand bags, silicone