Cloud Gate, Chicago

Known as “The Bean” for its shape, the Cloud Gate is made from 168 stainless steel plates welded together, and its highly polished exterior has no visible seams. It is one of the largest steel structures in the world and is one of Chicago’s main tourist attractions. Made to resemble a drop of mercury, the Cloud Gate reflects the Chicago skyline and mirrors the visitors that stand beneath the 12-foot arch.

(Image: http://bit.ly/1KRfaeY)

Sibelius Monument, Helsinki

Dedicated to Finnish composer Jean Sibelius, this sculpture is made up of more than 600 stainless steel tubes, welded to resemble organ pipes. A smaller version of the monument is located at the UNESCO headquarters in Paris. The unconventional design inspired debate about the merits of abstract art.

(Image: http://bit.ly/1Wxpcub)

Unisphere, New York

One of the most iconic steel structures ever built is the Unisphere, which was commissioned to celebrate the beginning of the space age. It is a stainless steel representation of Earth, with three orbit rings representing the course of the first manned space missions. The Unisphere is a symbol of the world’s unification as it expanded into the universe.

Cones, Canberra

The Cones consists of seven polished stainless steel cones, stretching 20 meters in length. Like the Cloud Gate in Chicago, the Cones reflects the surrounding environment. Designed by one of Australia’s most accomplished sculptors, the Cones was commissioned by the National Gallery of Australia, and represents the constant change of possibilities. The sculptor discovered steel after experimenting with a number of materials. Though it has a strong geometric design, the use of steel counterbalances that was a very precise and minimal effect.

(Image: http://bit.ly/1VriALc) 

Beijing National Stadium, Beijing

Beijing National Stadium is the world’s largest steel structure. Nicknamed the Bird’s Nest, this Olympic stadium looks more like a public work of art. The design originated from the study of Chinese ceramics, implementing steel beams to hide supports for the retractable roof, which was later removed. The stadium was designed for use during the 2008 Summer Olympic Games and Paralympics. It is scheduled to host the 2022 Winter Olympics and Paralympics.

Amabel, Seoul

Located outside the Seoul HQ of POSCO, this large work of art was built to honor the passing of a daughter of the designer’s friend, who was onboard a plane that crashed. Named for the deceased, Amabel represents both the twisted metal of the plane and the delicate petals of a flower. It was later renamed Flowering Structure – Amabel.

POSCO has long celebrated the beauty of steel in contemporary design. Visitors can see examples of steel art at the POSCO Art Museum. Read more about how steel has progressed from a material of industry to one of art. From functional form to beautiful design, steel continues to inspire.

“As I stepped closer to this work of art, the peace of the forest disappeared. The trees, the rays of light and the outlines of the trees’ roots gradually scattered, leaving behind only entangled wires. They were all I could see. As I backed up, the forest reappeared, at first glance appearing like pencil drawings. Then I asked myself, is what I see now the forest, or not?” Sung-ran Park, Novelist

What We See is Not Everything

Seung-mo Park is a sculptor who uses stainless steel wires to create complex and stunning works of art. Park layers the wire, bending and welding it until he completes his three-dimensional sculptures.

The right distance is required to enjoy Seung-mo Park’s “Yeon-gi 8460.” Yeon-gi is a Buddhist concept of connection; everything is interdependent. All things arise as a result of multiple causes and conditions. As viewers draw closer, shapes scatter until finally they may wonder what they saw. Wire entanglements, which were used to make the piece, are all that remain. Suddenly, the viewers can feel the weight of the wire materials, and the change of the property can be confusing. Some of Park’s pieces weigh over one ton.

“Most people who see Yeon-gi have the same feeling,” says the artist, Seung-mo Park with a smile. Born in Gyung-nam Sanchung, he speaks with using a local dialect. Having been raised in a small country town, there was not much to see or do, so he occupied his time by drawing pictures on the ground. Although not really sure why, his usual subject was horses. Amazed, his friends would surround him, watching while he drew. After some time, his life would change because of a phone call from one of these friends.  

Most people focus on the material first. When Park exhibited his aluminum series, people often asked him how he came to decide on aluminum. They wondered how aluminum wires could be used to create everything objects like bicycles, instruments, statues of Buddha and even people.

A bicycle is a bicycle. An instrument is an instrument. Buddha is Buddha. But are the sculptures even real? The sculptures made of meticulously wound up wires are all empty inside. What the viewers think they see, isn’t truly there. The intensity of the subject matter and the difficulty of the pieces of art captivated audiences.

Seung-mo Park says of his work, “You recognize it clearly as a picture from a distance first, but as you start to approach, it begins to fade and you feel a sense of alienation. People usually move back to view the work again, what I want is only for them to ask themselves at that moment – ‘Is it real or not?’”

(Image: http://bit.ly/1JUM6aL)

Intertwining Connections with Steel

He had previously thought about creating art with steel. By chance, he spoke to his friend who happened to be a painter. “Different muscles are developed depending on the environment where a man grows up. And one can know who he is and how he has lived so far based on them.” That story remained with him for a long time. He wondered, was he made in a same way? If environment makes a man, is man not made of particles which are, in effect, just tangled connections?”

Park began work on Yeon-gi based on that idea; however, it was difficult to find adequate material to represent particles. He tried working with straw numerous times, but it couldn’t be molded. Aluminum was laborious to weld, but the biggest challenge was that it collapsed and couldn’t hold its shape. Steel was the final option. Steel is now his most favorite material because steel is capable of being molded and carved. Still it took a long time to find a way to make steel represent particles. 

Who Am I?

A phone call with his hometown friend prompted Park to ask himself, “Who am I?” His friend reminded him he once drew pictures very well. At that moment, Park realized that while he had once believed it was his mission, he only started to draw to get the attention of others. He immediately stopped studying and headed to India. While he was visiting Parbat Mountain, he found himself drawing again while sitting in a café. Speaking about his vision as active artist, he says, “I think there’s no answers. In the past, I tried to find answers. But now, all I think about is finding the question.”

(Image: http://bit.ly/1UDLRUy)

After the interview, the artist shared a photo of a back view of Yeon-gi. Yeon-gi is not a work of art that can be viewed passively. The audience actively views it from all angles. They will find more light from the back view than the front.

What is this? What is the difference between the back and the front of the wire entanglements? When the audience considers these questions, a complete understanding of the work is discovered. It is this duality that has been central to Seung-mo Park for a long time; life and death, dream and reality. The images he creates are vague, like a fantasy. We are only particles too, such as the trees and water in Yeon-gi. Suddenly, the audience finds themselves asking themselves the question, “Who am I?” There was no clear answer, but the question is enough.

Steel has been used for some 3,800 years and has played a significant role in civilization throughout the history of mankind. From its use in the ancient weapons and hand tools of Rome and India, to the bridges and modern architectural marvels of today, the metal has been utilized in just about every conceivable way and it is seemingly impossible to imagine a world without it.

Unsurprisingly, as times have changed, so has the way we use steel. Not only has it been a practical material of function, but it has evolved into one of form, too, as a medium of art that transcends eras of historical metal relics to modern design. Nevertheless, many ancient steel artifacts, such as Damascus steel swords or Buddhist sculptures, for example, can be considered works of art themselves; the level of detail and quality of craftsmanship demonstrated in such pieces are spectacular, especially taking into account that they were created without the use of modern technology.

Today, sculpting steel is a form of artistry unlike any other and, in the hands of the right person, the durable, malleable material is capable of being transformed into just about anything the imagination can fathom.

An Artistic Metamorphosis

Contemporary artists of the 1900s continued to expand steel’s boundaries as a medium of art. American artist Alexander Calder changed the course of modern art by developing a pioneering technique to sculpt and twist wire into poetic, abstract shapes to create three-dimensional mobiles that hang in uncanny, perfect balance. Later on in his career, Calder devoted himself to making outdoor monumental sculptures in bolted sheet steel that continue to adorn public plazas across the world. Similarly, Richard Serra, often hailed as the world’s “greatest living sculptor”, also incorporated unconventional, industrial materials to accentuate the physical properties of art in the 1960s. His works, which are primarily large-scale and site-specific that engage with a particular urban or landscape setting, have become known all around the globe and have been the inspiration behind the designs of everything from electronics to fashion.

A Journey through the Art of Steel

Perhaps nowhere is this evolution from function to form more clear than at the POSCO Art Museum in Seoul, South Korea, which, to mark the foundation’s 20^th anniversary, is hosting an exhibition entitled Cheori Cheolcheol: From the Four Devas to Robot Taekwon V until July 7 (after which it will be held at the Pohang POSCO Gallery from July 17 to August 13).

The exhibition, which displays statues, handicrafts and furniture, among other works, from the Goryeo Dynasty (918-1392) to modern times, aims to illustrate the past, the present and the future of steel in our everyday lives.

Upon arrival, visitors are greeted by “Robot Taekwon V”, a sculpture inspired by an animated superhero robot of the same name popular in the 1970s, by Kim Taek-ki, a young artist who has been in the spotlight for his creative ideas.

Another highlight is “Yeongi”, an extraordinary landscape piece by Seungmo Park. In his Maya series (“illusion” in Sanskrit), of which the work is a part of, Park sketches and cuts two-dimensional contours on stainless steel mesh to create a type of three-dimensionality, which alters the appearance of the works depending on the angles from which they are viewed.

Each of the pieces on display at the POSCO Art Museum allows visitors to experience the diverse and sometimes contradicting aspects of steel, which are both strong and soft, and cold and hot.

By taking a look at the ancient artifacts of the distant past, as well as the futuristic works of contemporary times, it is clear that not only has steel been used for more than a thousand years in daily life, but it has also breathed life into the passion of artists throughout time.