Bryce Wolkowitz Gallery announces a new exhibition of works by Korean artist Noh, Sang-Kyoon.

Flashing with iridescence, reminiscent of digital codes, the canvases and sculptures produced by Korean artist Noh, Sang Kyoon are covered with thousands of sequins that he threads together by hand. His technique, which he developed while studying at Pratt Institute in 1992, lies at the core of his work. The patient and repetitive act of attaching the sequins one by one lends significance to the creative process itself, yet is rooted in popular arts. Through this practice, he manages to elevate everyday objects to the meditative realm.

Noh, Sang-Kyoon's work was featured in the Korean Pavilion at the 48th Venice Biennale in 1999, and this exhibition will be his first in New York since 1994. The exhibition includes earlier pieces from his work such as Fish Series, 1992, and For the Lip Readers, 1998, a striking image of a monolithic mouth-like form.

In Another End (Matted Blue), 1997, the pattern that results from Noh's treatment of the surface transforms the canvas into an expanding phenomenon; a giant spiral that sparkles in the same way a tiny gem would. Also on view will be For the Worshipers (2001-03) which consists of several sculptures of Buddha's heads covered in colored sequins, as well as Buddha Mask (2003) and Jesus Mask (2003).

Inherent to Noh, Sang-Kyoon's work is the idea of dichotomy.  Fluid shifts within dualities such as microcosm/macrocosm, containment/expansion, secular/religious produce aggregate and layered meanings. They collect about the work, not unlike the regenerative spiraling of the sequins themselves.