Ki Won Choi (South Korean, 1935 - ) Bronze Sculpture. Title - Birth 92-103. Bronze patinated sculpture. Signed lower left with impressed chop mark. Signature Choi Ki Won , 92 ½ A. D.S. Measures 33 inches high including the marble base, 16.9 inches wide and 8.7 inches deep. Large Asian bronze sculpture weighs 98 pounds. In good condition. Included with the Asian sculpture is the original 1992 invoice with the purchase price of $8,000 from Dong Soon Gallery in Seoul, Korea. Also included are three Ki Won Choi exhibition catalogues with this modern bronze sculpture featured.

From Oxfordindex.oup.com - Choi Ki-Won studied art at Hong-Ik Univer­sity, Seoul, Korea. He has taken part in various group exhibitions, such as 1955-1959, Korean Art Exhibition 1960-1981, Korean Art Exhibition, National Museum of Contemporary Art; 1992, Chicago International Art Exhibition 1996, FIAC (Foire Internationale d Art Con­temporain), Paris. Dong Soong Gallery, Soul, Korea.

From the May 14-19, 1992 Chicago International Art Exposition Catalog: The Dong Soong Art Gallery introduces Korean artist Choi, Kiwon for the first time as a sculptor at the Chicago art fair 1992. This is Choi, KiWon’s preliminary debut in the international art market and the first showing of his most recent works, produced over the past two years since his last solo exhibition, the works showing a vigorous zest as if he recovered his youthful verve. At his last solo show two years ago, I reminisced about my encounter with his works almost three decades ago. And I was asked to write a catalogue essay on the exhibition which will introduce him to the international audience, an essay primarily aimed at helping foreigners better understand the artistic world of Choi, KiWon. My first encounter with Choi’s work took place at the Paris Biennale in 1963, the biennale for young artists below thirty five years old at which painters Park. Seobo and Yoon, Myungro and print artist Kim, Pongtae were presented. Since I was the Korean commissioner for the biennale, I had the privilege to receive the then French minister of culture, Andre Malraux at the exhibition. I still vividly remember that I had paid special attention to the Korean works displayed there. Chois works were abstract sculptures in the informal-style, reflecting as it were the artistic climate of the time. The linear structures of his work, which reminded one of a hedgehog, were delicately cast open works - the subtle effect of patina on the bronze along with the moss-covered time seemed to breathe new life into them. His were the focus of everyone's attention, and I still remember Malraux praising them without reservation. Three decades have elapsed since then. The artist, who was then in his late twenties became a seasoned senior sculptor. What is surprising in his exhibition is that his works show, as I mentioned above, the creative verve equal to that of the young. His works displayed here are all entitled Birth in the nature of a series. He has dealt with such allegorical themes in the past on and off; this is the first time that he has concentrated his attention on such themes to such an extent that his recent works seemed to be based on a firmer, plastic background than his previous works. The same sculptural motifs are given to expression in such diverse variations that they breathe a new dynamism into his works. The title seems to imply a certain image or symbolism: for instance, the birth in his works implies an emblem of a stirring of primodial life and at the same time the pluralistic contrast between heaven and earth, or between Yin and Yang. This pluralistic contrast is given expression in such diverse forms through his artistic sensibility. We can find his world of contrast in the fact that the shapes of his works occupy the open and closed spaces at the same time. From a typological viewpoint, his works indicate the ascending or flying dynasim in a baroque style. And his dynasim is expanding into the open space. In spite of his expansion, his works lock up the space in the body. Because the body has in itself open spaces, it gains more volume and weight and thus the flying pose obtains a sense of solemn monumentality. In other words, they may express a mode of all existences between heaven and earth, and herein lies hidden the secret of birth and its divine providence. By Birth is meant a life in its pristine state which contains in itself the possibility of transmutation into any form, which is formed in his works by his adjustment of pluralistic contrast. For instance, if we see the contrast in terms of a plastic dimension, we can easily find this in his treatment of planes which can be compared to the treatment of planes which can be compared to the contrast between symmetry and asymmetry, between balance and imbalance, between a curve and an acute angle, or between Yin and Yang. There is another point along with these sculptural characteristics that we cannot lose sight of, the perfection of finishing touches in each of his works. Nothing is remiss in his works, from conception through the curse of his work to the finish. This, along with the diverse variations between the part and the whole, creates perfect harmony. This is an indication that he has as a sculptor has reached the state of maturity.

Condition listed in description