One of the characteristics that make the human experience such a unique one is that we all share a longing for personal enrichment. The search for individual fulfillment is a deep-seeded pursuit within all of us and is not only approached in a variety of ways, but is also a pursuit of various means of accomplishment. No matter how significant or superficial one’s ambition might be it is the presence of aspiration that beckons us as humans to somehow claim or further carve out our own understanding of ourselves within our lifetime. Although there is much attention and sensitivity towards the things that make us as humans very different from one another, there is an undeniable connection amidst all of us in that we all desire something better for ourselves. This impulse is the impetus within the sculptural work of Eunsuh Choi, work that visually communicates the spiritual essence of human ambition.
The structures that she creates within her recent work resemble objects that the viewer is familiar with and comes across within daily living. Ladders, stairs, trees and even hybrids of the three previous things appear as reoccurring formal motifs. Seemingly common objects that withhold a common bond in that they are all metaphors for ascension.
The pieces that Choi creates under the influence of the natural world read as individual narratives, perhaps even as portraitures of certain individuals or certain moments of her own personal growth. Nevertheless, she uses the malleable qualities of glass to bend and curve the material into frozen renderings of limbs and branches that ethereally reach toward some invisible goal above them. Some of the more interesting pieces are those in which she integrates the organic motion of the limbs with the stoic stature of the ladder form. Works such as these raise questions about pursuing the ideal as opposed to accepting what is probable, what determines one’s identity and issues regarding fatalism versus free-will…philosophical contrasts that perhaps the artist investigates within her work as a result of her sculptural studies under both Korean and American schools of thought.
There is evidence of Choi’s awareness of human fallibility, fault and error within our pursuit for greatness, though. Amidst her clear glass structures are often small inclusions or topical treatments that elicit a withering or rotted presence. These elements clash with the glassy surface of the structure and act as either a visual distraction from the upward motion of the form’s progress or a rotten spot to designate the origin of growth. Gradually, these inserts change color as their verticality enhances, progressively obtaining richer hues of precious metals as it reaches the very top of the piece. It’s almost as if these inclusions serve as the piece’s spirit and increases in value as the clear “body” of the piece physically rises to its maximum potential.