Opera Gallery New York is pleased to present “Changing Seasons,” a solo exhibition of sculptural works by Jae Ko. Through the use of recycled paper, often pigmented with sumi ink, this body of work make visual reference to natural elements and metaphysical reference to the complexity of emotion and temperament. Often resembling organic elements and biomorphic shapes, Ko’s oeuvre is in aesthetic contrast to the hard surfaces and geometric urban surroundings present during her formative years spent in Seoul and Tokyo during the latter half of the twentieth century. She then settled in the United States on Maryland’s eastern shore, where she has been based for the last twenty years.

Ko’s practice is rooted in sustainability while referencing the visual dialogue between architectural objects and topographical landscapes. Ko’s work ruminates on nature’s force and rhythm while suggesting its intrinsic link to the relentless passage of time. The textural cadence in her work reflects Ko’s process-driven, labor-intensive studio practice that transforms large quantities of flat sheets of paper into sculptural forms thrumming with vitality. Though art historical influences ranging from the post-war Gutai movement to Post- Minimalism are present in her work, curator Kristen Hileman posited, “For Ko, the influence of nature is far greater than art history.” Referencing the writings of Donna Haraway, Hileman suggests a more critical view on anthropocentrism as a central tenet to the intellectual framework of Ko’s exhibition.

Despite her engagement with academic theory, Ko’s practice leads with an instinctive perception of nature. Drawing inspiration from landscapes ranging from Southwestern bristlecone groves and deserts to glaciers in outlying regions of Canada, Ko’s works implore viewers to consider the levelling strength and delicacy of the natural world and our engagement and responsibility within it.

Born in 1961, Korean artist Jae Ko attended Toyo Art School and received a BA from Wako University in Japan and a MFA from the Maryland Institute College of Art in Baltimore, United States.

Jae Ko creates a unique visual language using elegant spirals and ribbon installations that can reach monumental proportions. She draws inspiration from nature, and her forms often resemble organic elements such as tree rings, tornadoes, roots, branches, or seeds. Her creative process was initially inspired by trees, as she began using sumi ink, a calligraphy ink made from burned wood, which she combined with paper, drawing from a common source of materials.

The intuitive design of each of Ko's sculptures are made from seemingly endless amounts of everyday office, recycled paper or adding machine tapes, which she unwinds and reshapes, bathes in vats of ink and then leaves them to dry out over months. Her captivating sculptures blur the line between writing and sculpting, taking on a biomorphic shape that resembles a swollen calligraphic mark. She may incorporate color into her pieces, drawing inspiration from the vibrant primary colors found in traditional Korean settings.

Jae Ko notes that as her environment changes, her sources of inspiration continuously evolve to include influences from the Western world. She has related her work to bristlecone pine trees that are bent into shapes by the wind, yet still alive. These trees are present in the American West, which adds to her sources of inspiration that infuse into her work.

In 2002, she received the prestigious Pollock-Krasner Foundation grant, followed by the esteemed Anonymous Was A Woman Award in 2012. Notably, Ko's installation Force of Nature was showcased at The Phillips Collection in Washington, D.C.. Her work has been included in renowned private and public collections, such as the Hirshhorn Museum and Sculpture Garden, Washington, D.C., The Phillips Collection, Washington, D.C., The Corcoran Gallery of Art, Washington, D.C., ADM, Chicago, IL, amongst others.

Jae Ko lives and works in Maryland, United States.

Artwork photography Courtesy of Christopher Burke Studio, New York, NY; Exhibition photography Courtesy of Elisabeth Bernstein