• 3 December 2022 – 14 January 2023 Vernissage: Saturday 3 December 6 – 8 PM 4 rue des Minimes, 75003...
    Sean Shim-Boyle, 439 BPM, 2022
     
    3 December 2022 – 14 January 2023
    Vernissage: Saturday 3 December 6 – 8 PM
    4 rue des Minimes, 75003 Paris
     

    Galerie Marguo is thrilled to present My Heart Says Bang, an exhibition of new and recent work by Los-Angeles based artist Sean Shim-Boyle.

     

    Shim-Boyle’s practice explores the politics of self-identity through rigorous experimentation with material and form. For his first solo exhibition with the gallery and in France, the artist hones in on the invisible biomechanisms to which we are beholden, that not only shape one’s identity but dictate their literal existence. The new and recent works gathered here take as their starting point the abject experience of living with chronic cardiac disease, which first presented in Shim-Boyle’s early twenties.

     
    Press Release: English · French
  • Directed by the artist Sean Shim-Boyle and edited by Tianhao Wu
  • Identity is registered at every scale, from the subatomic, then the atomic, cellular, biological, chemical, physiological, psychological, mechanical, architectural, political, racial, geological... Each scale has a unique vocabulary, organization of knowledge and mechanisms.

     

    — Sean Shim-Boyle

  • 439 BPM, 2022 (detail)
  • Sean Shim-Boyle, 439 BPM, 2022

    Sean Shim-Boyle

    439 BPM, 2022 Silicone
    182.9 x 182.9 x 35.6 cm (72 x 72 x 14 in)
  • Sculpture was how I learned how to be alone again, how I learned to stand up and to stay standing, how I learned to feel that electric surge of energy when I'm at the top of a ladder and a sculpture is cracking on me in my hands and it's falling down. 

     

    — Sean Shim-Boyle

  • Flowers from the Giftshop, 2022 (detail)
  • A fixation emerges in Shim-Boyle’s work with the armatures of sculptures, the invisible mechanisms that underpin their physical constitutions. Silicone...

    A fixation emerges in Shim-Boyle’s work with the armatures of sculptures, the invisible mechanisms that underpin their physical constitutions. Silicone forms protrude, drip and droop, clinging to the walls they’re attached to for dear life, suspended in interminable moments of collapse. 

     
    Flowers from the Giftshop, 2022
    Silicone
    121.9 x 86.4 x 35.6 cm (48 x 34 x 14 in)
  • Flowers from the Giftshop, 2022 (detail)
  • Following various surgeries and hospitalisations, building a studio, and a sculptural practice in particular, became a sort of rehabilitation for the artist. The desire to work with materials to find their structural integrity, to figure out how to “make things stand,” deeply meshed with his own need to restore an autonomous sense of self. 

  • Sean Shim-Boyle, The Harp That Plays Itself, 2016

    Sean Shim-Boyle

    The Harp That Plays Itself, 2016 Customized duplex outlet, rubber hose, compressor
    Variable dimensions
    Edition of 3 plus 2 artist's proofs
  • Flash in the Pain, 2022 (detail)
  • In Flash in the Pain, Shim-Boyle mobilizes the cutesy Looney Toon lexicon of disaster—bulging hearts protruding from walls and cascades...

    In Flash in the Pain, Shim-Boyle mobilizes the cutesy Looney Toon lexicon of disaster—bulging hearts protruding from walls and cascades of rainbow silicone shapes or letters—in an attempt to draw a line between the inarticulable experience of feeling one’s heart “exploding,” of “living between the hammer and the nail,” and ubiquitous cartoon tropes such as treading air on borrowed time after running off the edge of a cliff or getting electrocuted and seeing stars.

     
    Flash in the Pain, 2022
    Encaustic on canvas, wax
    78.7 x 61 x 17.8 cm (31 x 24 x 7 in)
  • EKG#13 - Fastest with the Mostest, 2022 (detail)
  • Standing before a suite of massive encaustic paintings into which “LUB DUB” has been etched repeatedly, it is easy to imagine we are facing the inner walls of a freshly ablated heart from a laparoscopic perspective, taking them in as one might do before the drawings at Lascaux.

    • Sean Shim-Boyle EKG#17 - All of it Wrong, 2022 Encaustic on canvas 228.6 x 229.9 cm (90 x 90 1/2 in)
      Sean Shim-Boyle
      EKG#17 - All of it Wrong, 2022
      Encaustic on canvas
      228.6 x 229.9 cm (90 x 90 1/2 in)
    • Sean Shim-Boyle EKG#19 - Boom, Shush and Waves, 2022 Encaustic on canvas 228.6 x 229.9 cm (90 x 90 1/2 in)
      Sean Shim-Boyle
      EKG#19 - Boom, Shush and Waves, 2022
      Encaustic on canvas
      228.6 x 229.9 cm (90 x 90 1/2 in)
    • Sean Shim-Boyle EKG#15 - There he 'a Go-Go-Goes!, 2022 Encaustic on canvas 121.9 x 91.4 cm (48 x 36 in)
      Sean Shim-Boyle
      EKG#15 - There he 'a Go-Go-Goes!, 2022
      Encaustic on canvas
      121.9 x 91.4 cm (48 x 36 in)
    • Sean Shim-Boyle EKG#13 - Fastest with the Mostest, 2022 Encaustic on canvas 78.7 x 61 cm (31 x 24 in)
      Sean Shim-Boyle
      EKG#13 - Fastest with the Mostest, 2022
      Encaustic on canvas
      78.7 x 61 cm (31 x 24 in)
  • Medtronic EVERATM XT VR DVBB1D1, 2022 (detail)
  • Sean Shim-Boyle, Medtronic EVERATM XT VR DVBB1D1, 2022

    Sean Shim-Boyle

    Medtronic EVERATM XT VR DVBB1D1, 2022 Gold, Aluminum, Titanium, Silicone, Resin
    168.9 x 15.2 x 15.2 cm (66 1/2 x 6 x 6 in)
  • The bricolage of ideas, materials, and referents in this exhibition expand the artist’s vocabulary, pulling focus to an architecture of flesh and muscle and electrical impulse. And then further, to the shock and awe, the severance of body and mind peri-cardiac arrest and defibrillation—to a body of work that insists upon an identity borne of imagination, recombination, and resurrection where and when system and strength fail. 

  • It wasn't in the Plan, 2022 (detail)
  • Sean Shim-Boyle, It wasn't in the Plan, 2022

    Sean Shim-Boyle

    It wasn't in the Plan, 2022 Clay, resin, lacquer
    106.7 x 106.7 x 40.6 cm (42 x 42 x 16 in)
    • Sean Shim-Boyle Guided Muscle, 2022 Clay, Resin, Lacquer 40.6 x 43.2 x 12.7 cm (16 x 17 x 5 in)
      Sean Shim-Boyle
      Guided Muscle, 2022
      Clay, Resin, Lacquer
      40.6 x 43.2 x 12.7 cm (16 x 17 x 5 in)
    • Sean Shim-Boyle Suffer-Time Baby!, 2022 Clay, Resin, Lacquer 17.8 x 22.9 x 11.4 cm (7 x 9 x 4 1/2 in)
      Sean Shim-Boyle
      Suffer-Time Baby!, 2022
      Clay, Resin, Lacquer
      17.8 x 22.9 x 11.4 cm (7 x 9 x 4 1/2 in)
    • Sean Shim-Boyle Lickety-Splat, 2022 Clay, Resin, Lacquer 22.9 x 25.4 x 8.9 cm (9 x 10 x 3 1/2 in)
      Sean Shim-Boyle
      Lickety-Splat, 2022
      Clay, Resin, Lacquer
      22.9 x 25.4 x 8.9 cm (9 x 10 x 3 1/2 in)
    • Sean Shim-Boyle Little Go-Beep, 2022 Clay, Resin, Lacquer 12.7 x 17.8 x 5.1 cm (5 x 7 x 2 in)
      Sean Shim-Boyle
      Little Go-Beep, 2022
      Clay, Resin, Lacquer
      12.7 x 17.8 x 5.1 cm (5 x 7 x 2 in)
    • Sean Shim-Boyle This is why the bed waits, 2022 Clay, Resin, Lacquer 35.6 x 35.6 x 15.2 cm (14 x 14 x 6 in)
      Sean Shim-Boyle
      This is why the bed waits, 2022
      Clay, Resin, Lacquer
      35.6 x 35.6 x 15.2 cm (14 x 14 x 6 in)
    • Sean Shim-Boyle TNT Trouble, 2022 Clay, Resin, Lacquer 13.3 x 21.6 x 10.2 cm (5 1/4 x 8 1/2 x 4 in)
      Sean Shim-Boyle
      TNT Trouble, 2022
      Clay, Resin, Lacquer
      13.3 x 21.6 x 10.2 cm (5 1/4 x 8 1/2 x 4 in)
  • Sean Shim-Boyle, Tunnel Vision, 2022

    Sean Shim-Boyle

    Tunnel Vision, 2022

    The clinical dropped-tile ceiling, cool lights, and walls covered with a pediatric astral motif simulate the pressurized, and psychologically stifling, space of the hospital, echoing Shim-Boyle’s previous forays into architectural space as metaphor for the body or identity.

  • ABOUT THE ARTIST
    Portrait of Sean Shim-Boyle. Courtesy of the artist.

    ABOUT THE ARTIST

    Born in Vancouver in 1986, Sean Shim-Boyle is a Canadian artist living and working in Los Angeles. He received a MFA in Sculpture from the University of California, Los Angeles and a BFA in Graphic Design from the California Institute of the Arts in Valencia, California.

     

    Sean’s work centers around an insistence that identity is borne of imagination, recombination and resurrection at times and in places where and when systems and strength fail. Engaging in macro-scale inquiries—his race as a biracial Korean-Canadian, 1.5/second generation individual; as well as micro-scale contemplations—his experience of being diagnosed with and living with a serious cardiac condition, the artist continues to explore and critique narratives of site and self.

     

    Shim-Boyle has presented solo exhibitions in institutions across the United States including Project Rowhouses in Texas, Laxart in Los Angeles, and SSSignal and Jane Lombard Gallery in New York. His work is in various public collections including the collection of Los Angeles County Museum of Art. He was awarded the Joan Mitchell Foundation Painters and Sculptors Grant in 2013.

  • Get in touch

    439 BPM, 2022 (detail)