Bodies of Light

Clear bin liners, unpaid mobile phone bill, Bible, clothes, artist’s breath, medicine cabinet, towels, bed-sheets, pillow cases, live electrical cables, modified wall cabinets, perspex, glass, mirrors, plastic, tissue paper, pedestal fans, yellow fluorescent lamps, dog leads, stolen chair, property of G.H.A, clothes, porcelain, ceramics, silver chrome paint, jackets, cushioned chairs, faux leather sofa


In Bodies of Light, Chun explores the materiality of his rented apartment, populated with various paraphernalia cast aside by its previous tenants. The artist’s presence in his own home has been substituted and represented by a lively cast of objects. The suspended fans give the sensation of flight, bringing to mind an out-of-body experience where the physical form of the artist is absent but his possessions remained behind.

Second-hand furniture - chairs, bed sheets, cabinets and mirrors - are culled together, evoking traces of the past occupants’ lives. Fans appear again as a proxy of the artist, a lingering metaphor of assimilating to life in Glasgow. As an avatar that occasionally cameos in his installations, the fans are decked in his clothes and given a breath of life, hovering mid-air in flight.

Towels that were left behind band together in a strange act of solidarity. Coiled together, they funnel in and out of the wall, growing with every forgotten cloth that a tenant abandons. The walls made of wooden partitions are reimagined as a clandestine storage space. A hole is continuously drilled in until it reaches the next room, providing a voyeuristic look into the contents of Chun’s medicine cabinet.