Bongchull Shin, born in Suwon, South-Korea, in 1981, studied at Kookmin University, Seoul (B.A.) and at the Korean National University of Arts in Seoul (M.A.) before moving to Munich. He joined the class of Prof. Prangenberg/Karstieß at the Akademie der bildenden Künste in Munich, finishing with his diploma in 2017.
Glass, bright colors and either natural or artificial light and its resulting shadows and reflections are key elements of Bongchull Shins works. Depending on the perspective of the beholder, his cubes and stripes works can be intensely colorful or completely transparent. The variable components between the glass layers define this, depending on the character of each work. He creates complex compositions, technically brilliant and beautiful. Alike the minimalists, he wants color to have a reduced, pure and three-dimensional expression, interacting with light and space around it.
“In my series cubes and stripes my desire is to unify glass and light. Depending on the way the light falls and the position of the observer, the shapes and colors of reflections change and intertwine with the textures of the wall behind.”
Growing up on the flower-farm of his parents, his childhood was full of colors and impressions of nature. The circle of life, the constant flow of change, of growth and transitoriness, of color and light, that he experienced, deeply influenced his perception and his work.
For him, everything is connected.
And everything is constantly changing.
“Glass, while pivotal in my work, is merely the vessel through which my art is created. By reflecting and refracting light, my glass shapes generate something new and unique. The resulting patterns never stay the same. They emerge by coincidence and they are constantly changing depending on where the light falls and where the observer stands.”
In his broken glass works, Bongchull Shin creates antagonistic associations. Poetic statements like “Love”, “Faith” or “Hope” consist of letters, made out of glass shards. Poetic, beautiful and dangerous at the same time, they reflect the contradictory character and ambiguity of existence in a social and spiritual sense.
“The driving force behind my series broken glass is my interest in language. I write statements and quotations out of glass sherds, creating conflict between form and meaning. Through this conflict, the language gains new meaning and grows.”