I am a Korean artist based in Canada. Formerly a university professor in art and architecture in Korea and a former director of an art gallery in Paris, France, I began my career as an artist in France in 2020 and now live and work in Canada. The work I have created spans more than twenty years, integrating experiences acquired as an architect, artist, and director of an art gallery in France into the best practices of my work to be showcased.

Coming from an artistic family and formally trained as an artist, I enjoy playing the cello and listening to music. While studying at art and architecture school in New York, I encountered Goethe’s and Schelling’s words, “Architecture is frozen music.” My artwork began with this statement.

Two eminent philosophers contemplate the profound relationship between music and architecture, pondering what insights can be gleaned from the interplay between reality and the mind, and examining architecture's influence on the evolution of music in the late 18th century. Their assertion underscores that architectural space resonates with the ambiance, color, sound, and volume evoked by music, suggesting that architecture must evolve into a form that not only satisfies spiritual contemplation but also serves as an artistic and cultural vessel encompassing human life.

This statement persuaded me to perceive architectural form as diverse and rich as life itself, transcending mere rationality. I likened the process of developing architectural concepts, from initial drafts to project execution, to the transformation of musical sound into frozen form. I envisioned freezing my favorite music to observe how it would manifest in this new state.

Meanwhile, the role of music has evolved, with technology enabling reinterpretations of musical instrument sounds and musical structures. In the mid-20th century, Iannis Xenakis fused his passions for architecture, music, and mathematics to pioneer electronic music. More recently, Pierre Boulez's "Anthèmes II" for solo violin and live electronics exemplifies a symbolic fusion of music and architecture. In various instances of such avant-garde musical evolution, one seeks abstract forms derived from musical sounds that subsequently define architectural spaces—a quest akin to architectural design that blends science with art.

Kandinsky's revolutionary approach to painting, which draws parallels with music by emphasizing form, color, and rhythm, resonates with Goethe's statement about art. Although neither Goethe's nor Kandinsky's ideas developed into major architectural theories of the 20th century, there are notable examples of translating their concepts into architectural reality that have inspired my career in architecture.

Music notes move dynamically, and I sought to capture their sounds and sketch their movements onto canvas. Whether intense or serene, these notes relate to each other and often intersect, embodying fundamental principles of music that give rise to various "musical images." These images are shaped into balanced forms following specific musical rules, ultimately achieving great harmony. 

Occasionally, there may be cognitive dissonance in music, which paradoxically contributes to its beauty. My aim was to capture these graceful movements of music notes while understanding their sounds and meanings, envisioning spaces where music could be heard most beautifully. 

Additionally, I had a strong desire to depict all aspects of music: the movements of performers, the gestures and expressions of conductors, and the emotions of impression, hope, and sorrow. Using geometry, I intended to render these elements as if drafting architectural plans.Shostakovich's music, evoking cold yet passionate narratives, Debussy's compositions with their subtle, colorful juxtapositions of ideas, and Prokofiev's music, showcasing irresistible beauty and dreams of escaping reality, all served as rich sources for creating diverse forms. 

Across these and other compositions, including the three mentioned, it is intriguing to note how a part can suggest the whole, actively developing the main theme. With this in mind, I aimed to prompt people to imagine the entirety from a fragment.

Could there be a way to describe pure beauty that transcends verbal expression and brings joy to people? In pursuit of an answer to this question, I continue to sketch "frozen music," metaphorically preserving music in visual form, hoping to inspire those who appreciate both music and art with diverse and beautiful imaginations.

                                                                                                                                                                                                                            Sanghoon KANG  2021