Cody Choi

PKM Gallery

When Cody Choi moved from Seoul to Los Angeles at age twenty-two, he experienced a particularly painful and protracted form of homesickness: Speaking poor English and ill at ease in the radically different social milieu, the artist suffered from frequent nausea. Pepto-Bismol, his preferred antidote—he consumed as much as a bottle a day—became the material of his first significant work: replicas of clichéd masterpieces like Rodin’s Thinker and the Venus de Milo, all made out of toilet paper soaked in the sick pink, over-the-counter gastrointestinal medication. In the late ’90s, he shifted from sculpture to digitally generated painting. The inspiration came from a more heimisch source, namely, his astonishment over the ease with which his young son could draw accomplished pictures on the computer.

Choi’s recent “digital” paintings are lush, but the field of reference is rather more arch than

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