sunbin lim
BISBADEN, Germany / South korea, Republic of korea
Sunbin Lim in his studio
Sun Bin Lim, Schrank, 2019. Stoneware, oxidation Firing, 32 x 21 x 42cm H.
During the lockdown period, I have been working much as I normally do. Exhibitions have been canceled or are decreasing in number because of the coronavirus, which means the motivation to work is waning. If this situation continues, many artists will miss out on opportunities and suffer financially. I want to show my works as much as I did previously, but now there are lots of limitations. I wish this moment could pass quickly. The best I can do as an artist is to show people wonderful works and bring them happiness. If I’m not working with clay, I use paper to make works or draw sketch or to make 3D paper sculptures.
My principal aim has always been to reproduce natural colors and lines. I see so much beauty in nature, and in the architecture of different countries, but I am also interested in imperfection. My works may appear damaged or broken but I have deliberately chosen to shape them this way, with pierced structures and rough surfaces. This distressed appearance is a metaphor for the misery I have seen in Brazil and in my homeland, Korea, and for the inner distraction I felt there. So I cut imperfect voids into the surfaces of my objects, and roughen their surfaces to impart what I feel.
Sunbin Lim, Verbrannte Sofas, 2019. Stoneware, Oxidation firing, 37 x 30 x 39cm H.
During the lockdown, SUN BIN LIM HAS BEEN completing earlier clay pieces, as well as sketching, painting and making 3D paper sculptures.
Sun Bin Lim, Night Table, 2019. Stoneware, oxidation firing, 32 x 25 x 45cm H.
Sun Bin Lim, Night Table, 2019. Stoneware, oxidation firing, 32 x 25 x 45cm H.
Sun Bin Lim, Night Table, 2019. Stoneware, oxidation firing, 32 x 25 x 45cm H.