李光裕(1954-)

LEE Kuang-Yu

It creates the unique form, style, and concept of the “void,” and demonstrates “the concept of silent void in the Oriental culture” that embodies the state of unifying the object and the self. It not only displays aesthetic values but also reveals the artist's contemplation on the state of life at that moment, conveying contemporary social implications.

A Sculptor’s Secret Garden: Curator & Artist Interview

Tan Hwee Koon/Lee Kuang-Yu

The Force of Things

In essence Lee turns the sculpture inside out to enable a communion, a contemplative yet awakening union, between viewer, sculpture, and surrounding environment.
Text/ Renate Ferro

The Touch of Air

the multiplications of gestural interaction combine with the fragmentations of deconstructed form to lend Lee Kuang-Yu’s thinly thick sculptures the touch of their airy sensational resonance.
Text/Timothy Murray

Sculpting time in the space of the void

Text/ CHOE, Youngjeen (English / Chung-Ang University, South Korea)

Ways of Seeing in the Global Perspective

Text/ Alex Taek-Gwang Lee (Kyung Hee University)

The Humanistic Sculpture of LEE Kuang-Yu

LEE Kuang-Yu started out with Western techniques as a foundation, and created large quantities of work with a deep understanding of eastern spiritual thought, while not missing out on the liveliness of the modern form.
Text/ HSIAO Chong-Ray Art Historian, Professor, Department of History, National Cheng Kung University

The Open Void—On the Formal Language, Artistic Concept, and Contemporary Value of LEE Kuang-Yu’s Sculpture

it has incorporated the Oriental thinking and culture as well as its aesthetics, forming a highly recognizable, distinctive style and concept.
Text / Dr. YANG Shin-Yi (Curator and PhD in Art History, Cornell University)

Viewing LEE Kuang-Yu from the spaces within

LEE Kuang-Yu’s new works initiate a further unique orientation of the spaces of his sculptural vocabulary. The former volume has dissolved and retreated from his forms.
Lin Hong-John Director, Department of Fine Arts, Taipei National University of the Arts

時間。花園之間-從文本再現到地景凝視

李光裕是以更為輕鬆的態度進行這個地景創作。這件作品,沒有完稿的期效性、沒有他人期許的壓力,更沒有不斷超越自我的使命;而是一種自然而然的出手,順理成章的完成。大自然的四時變化是限制,也是開放,季節屬性需要配合,但是創作的時間永遠夠長,隨季節演變的自然景觀也夠豐富,容許更多的可能性在此發生。這個師造化的學習過程,以不同屬性的鋪陳舒展了藝術家內心不同類型的想望,也讓藝術家潛藏內心的豐沛能量,漸漸有了抒發
文/ 龔書章 國立交通大學建築研究所 專任副教授兼所長

From the Physical Body to Bodily Force – A Discussion of LEE Kuang-Yu’s 2013 Paradigm Shift

The movements of this gargantuan are linked by a majestic, billowing force; and this mysterious force is given a magnificent, lofty name: it is known as the “élan vital”.
Text | WU Shu-An Art Critic
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