berlin

Kyungah Ham, Abstract Weave / Morris Louis Alpha Upsilon 1960 NB001-01, 2014, North Korean machine embroidery, silk threads on cotton, middleman, anxiety, censorship, wooden frame, collected world internet news articles, tassels, 6' 4 3/4“ x 11' 7 3/8”.

Kyungah Ham

carlier | gebauer

Kyungah Ham, Abstract Weave / Morris Louis Alpha Upsilon 1960 NB001-01, 2014, North Korean machine embroidery, silk threads on cotton, middleman, anxiety, censorship, wooden frame, collected world internet news articles, tassels, 6' 4 3/4“ x 11' 7 3/8”.

This was Kyungah Ham’s first one-person show outside South Korea—yet to call it a solo venture felt odd, not just because some of the exhibited pieces were the work of many hands, but also because Ham herself seemingly operates as two artists simultaneously. The first is a producer of strikingly lush, colorful, and imposing “paintings” made not with paint but with embroidery on canvas. The works of this artist are lavishly sensual, often very pleasurable to look at, possibly a little too slickly produced, and occasionally—as in a series that imitates Morris Louis’s 1960–61 “Unfurled” paintings (their unprimed centers flanked by more or less symmetrical pairs of sequences of more or less diagonal pours of color) but with excess thread hanging down from the canvas to the floor, embodying a kind of dry pouring—too clever for their own good. But Ham’s explanation for

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