Year: 2013
Genre: Visual Art
Website: http://www.taey.com
Education
2013 PhD in Artistic Research, University College Dublin
2005 Associate Research in Fine Arts , Chelsea College of Design and Arts
Solo Exhibition
2013 Restless, Trunk Gallery, Seoul
2010 Namhaegeumsan: Southern Sea Silk Mountain, Insa Art Space, Seoul
Group Exhibition
2012 Language but No Words, SpaceMom Museum of Arts, Cheong-ju
2011 Interview & Artist as Interviewer, Arko Museum of Arts, Seoul
2010 Unruly Scapes, To and For Gallery, London
2010 Nightscanning, Zebra Poetry and Film Festival, Berlin
2009 Kritical Works in SL II, ISEA 2009, Golden Thread Gallery, Belfast
2009 Eonni is Back, Gyeonggi Museum of Modern Art, An-san
2007 Art District, Generation II, Poznan
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| Taey Iohe, I won't write to you again, 2010. Stop motion animation. |
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| Taey Iohe, She went through the wall, 2010. Felt Balls, Ducts, Sound Installation. |
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| Taey Iohe, Fear Note: How to translate unspoken words, 2010. Book, 60 pages. |
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| Taey Iohe, Lure of the Lawn, 2008 |
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| Taey Iohe, Intraweave, 2011. 3 Channel Video Installation, 17min 24sec |
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| Taey Iohe, You are all I have, 2013, Performance, 13 min |
The Boundary, Becoming the Bed and
Wandering
Kim Young Ock, Image Critic
For artist Taey Iohe who lives and works in
England, a diasporic, hybrid lifeform and its constructiveness is like a
nucleus of perception and thought. As ‘a familiar yet unfamiliar human being’
for many languages, her work showcases a constant interest and diverse
endeavors by a female artist who is always awake at the boundary. Taey’s work
has generated multifarious variations of abstract thinking and sensuous
feeling, marked by the body traveling across differing space and time, language
giving rise to variants and derivatives when it meets another language, and
life-modes brought forth by visible and invisible boundaries. Abstract,
conceptual thinking, sensuous feeling, linguistic introspection, and
coexistence of physical and existential perception are the hallmarks of her
work we have to pay constant attention. An example is her solo show
<Namhaegumsan: Southern Sea Silk Mountain> (2011) in which the artist
created the synesthetic space of ‘emotion’ in a variety of media and manners.
The memory resonating and generated newly in this exhibition harbored some visceral
warmth and dampness, and light orange brightness and bluish darkness.
Mistranslation and translation, misrecognition and recognition, un-appreciation
and appreciation brought forth a hybrid space for creation, not complete
negation, colliding, blending, and repeating. The ‘bed’ Taey highlighted when
at the Seoul Art Space_Geumcheon in 2013 semiotically and physically incarnates
a boundary itself between interior and exterior, expanding and overturning our
imagination about such preexisting borderline space. If a performance in which
her colleagues took part was an invitation to a clandestine night loaded
simultaneously with secret, sexual desire, rest, bodies, a dreamy journey, and
dream, her photographic works featuring beds outside the house, in streets and
forests, refer to an aspect of our time when drawing a distinction between
private and public space as impossible, or elementally impossible. The beds
facing us, raising a question, harks back to ‘our own room’, which cannot help
but take on a different meaning and status in the massive flow of migration.
What is a different meaning and status? Each viewer may give different answers
to this question in accordance with their existential condition and political position.
Any aesthetic work posing a question, not an answer, is precious. If the work
can be a remainder of eros, leading us into political introspection, it is even
more precious. That’s what Taey’s work is! Her work is entirely a practice of
remarkable ecriture feminine, or literally ‘Women;s Writing’. If we see
‘Women;s Writing’ above all as writing by the body, open to other/ gender
issues, read as a revolt against the patriarchal knowledge system inherited as
a sole legacy, it is quite natural for us to perceive her work as feminine text.
