I develop kinetic sculpture works utilizing recycled, discarded materials, new substances, and metals as primary mediums to breathe life into the forgotten. By combining the minimal units of work—'objects'—like the biological cells of a living organism, I realize analog movement powered by the forces of nature or through audience participation. I intentionally exclude digital components (such as CPUs) to explore complex, sophisticated analog mechanisms. My work aims for a fusion of material experimentation and conceptual art that powerfully delivers critical commentaries on contemporary social issues and messages to the public.
Using pneumatic power, water, wind, solar energy, analog gears, and manual human force, my creations intentionally revive and reflect the raw forces coming from nature. Through this, I continue to generate experimental and conceptually driven fine art installations.
Artist Statement
I work primarily with kinetic sculpture, exploring movement, material, and the possibility of giving new life to objects that have been discarded or overlooked.
My practice begins with recycled and discarded materials, newly manufactured components, and metal structures resembling trees. Rather than treating these materials simply as physical substances, I regard each of them as a small element capable of becoming part of a larger living system. Just as individual cells come together to form and sustain an organism, the smallest components in my work connect, interact, and move together to create a new presence.
Movement is therefore central to my practice. Through motion, I attempt to transform static materials into entities that appear to breathe, respond, and exist within their surroundings. I am particularly interested in creating movement through minimal forces—wind, gravity, mechanical balance, or the physical participation of the viewer—rather than relying entirely on motors or electronic systems.
The work of Theo Jansen has been an important influence on my artistic worldview. When I first encountered his kinetic structures, I was fascinated by the way scientific principles, natural forces, and mechanical systems could generate movement without conventional motorized power. This encounter encouraged me to investigate how small forces can activate complex structures and how kinetic sculpture can establish a relationship between art, nature, technology, and society.
Through my work, I also seek to address environmental and social issues. Discarded materials carry traces of consumption, time, and human activity. By transforming them into moving structures, I attempt to give these materials another life while drawing attention to the ecological and social conditions surrounding us.
My practice combines the physical language of analog kinetic sculpture with the conceptual concerns of contemporary art. I deliberately minimize the use of CPUs, digital controllers, and electronic devices whenever possible. Instead, I am drawn to complex analog mechanisms whose movements emerge from physical forces and direct interaction with their environment.
This approach requires continuous experimentation. Each work involves repeated research, testing, failure, adjustment, and reconstruction until the movement becomes an integral part of the sculpture itself. When a work begins to move through natural forces, it acquires an unpredictability that I find both compelling and alive.
Public sculpture presents another important question in my practice: how can a kinetic artwork maintain its conceptual and experimental integrity while communicating directly with a broad audience?
My work continues to evolve through this question. Rather than presenting a fixed conclusion, my portfolio documents an ongoing process of experimentation—an attempt to discover how discarded materials, natural forces, mechanical movement, and human participation can come together to create new forms of life and new ways of experiencing sculpture.
Cho Byungchul reflects on the future of humanity amid rapid technological advancement, exploring the impact of artificial intelligence, automation, and information overload on human subjectivity. Through the concept of “The Birth of a King,” he metaphorically presents issues of controlled evolution and power, revealing both the desire for and anxiety about technology.
The birth of a king. 240 x 130 x 40cm . Iron, Acrylic, doll, LED lamp, Motion sensor, Geared motor, and Mixed Media 2026
