Highlights from Jason Haam’s booth for this year’s edition of KIAF includes "Supersensible" (1995)
by Sarah Lucas and "Garage" (2019) by Cheikh Ndiaye. Two paintings by Ndiaye will be on view
for the first time in Korea, ahead of the artist’s solo exhibition with Jason Haam in December.
Oliver Arms’ (b. 1970, Arlington, VA) tactile works expose layers of irregularity and refinement. By exploring the
transitory nature of aestheticism, he disrupts the conventionality of two-dimensional paintings. The apparent
contrast between the brittle surfaces and concentrations of paint bear a resemblance to people, place, and time.
Linn Meyers’ (b. 1968, Washington D.C.) works are physical manifestations of movement. The structure of her
works is geometric and meditative, but the form of her image occurs organically and intuitively. There is a
sense of subtlety and ephemerality within her works that reveal and reflect the paradox of human existence.
Cheikh Ndiaye (b. 1970) alludes to the socio-political history of Urbanism in Senegal in the context of rapid
economic development through the visual interpretations of anthropology and architecture. Disparity between
visual subject and emotive content adds multifaceted layers to the paintings, veiling a sense of somber uncertainty.
Anthony Pearson (b. 1969, Los Angeles, CA) focuses on material-based works to challenge the
boundaries of distinct art forms, merging the different disciplines of paintings and sculptures to create
a new medium that serves as a haven from today’s obsession with blatancy and immediate gratification.
Mircea Suciu (b. 1978, Baia Mare, Romania) depicts images brimming with intangible but undeniable tension. The
subjects of Suciu’s artwork express the underlying meaning of aggression, defensiveness, and suffering, of what
civilians are inevitably exposed to in times of war as a result of religious fundamentalism and extreme nationalism.
Sarah Lucas’ (b. 1962, London, UK) singular and confrontational body of work subverts conventional
notions of gender, mortality, and social identity. By appropriating everyday materials, the artist
challenges normative societal interpretations with touches of satirical humor and euphemisms to bring
awareness to the understanding of the exchange between people and their surrounding objects.