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Bada Song, 'Yeonji", C- Print, 120 x 100 cm framed
( with the co-operation of the Korean galleries British Musuem)
, sound sculptures, lft: lipstick on tube, MP3, right: nailvarnish on tube, MP3
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Bada Song, 'Yeonji- Garigea', live performance with voice and handsewn clothcircle,
commission for : theresa Cha( 1951-82): a portrait in fragments, KCC UK
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Bada Song, 'Yeonji- Garingea', live performance with voice and handsewn clothcircle,
commission for : theresa Cha( 1951-82): a portrait in fragments, KCC UK _______________________________________________________________ 
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Bada Song, 'Yeonji- Garingea', live performance with voice and handsewn clothcircle,
commission for : theresa Cha( 1951-82): a portrait in fragments, KCC UK _______________________________________________________________
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Bada Song, 'Pollock', Performance, C-print and sculpture, part of Boidy and Shelter,
Installlation View,the Agency 2012
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Bada Song, 'Ta-Il', Graphite on board, 70 x 52 cm, 2012
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Bada Song, 'Chi-bung,2007,installation, 255 x 420 x 415 cm, newspapers, walking sticks, rubber bands
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Bada Song, 'Roof' (2006), photo etching, 58 x 76 cm (1/ 12) _______________________________________________________________
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Bada Song
Exhibitions/Bio
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Bada Song has been recognised for her strong position as a mark-maker who is influenced by her performance practice. Her approach to drawing is broad and cross-disciplinary, involving live performance, photography, sound pieces, video and painting.
The ’Leitmotif’ of Song’s practice is Ta-iL, a continuing series of representations of traditional hanok roof-tiles as a symbolic pattern. The word Ta-iL is a phonological play on the English word ‘tile’. It does not exist in Korean but is made up by the artist in reference to the common appropriation of English words into the Korean language using familiar Korean sound patterns and English spelling.
Despite the obvious and relevant direct references to hanok architecture, Ta-iL as a conceptual principle underpins most aspects of Bada Song’s practice. The tile/ cover also signifies shelter, covering, also the gesture of covering one’s face to hide emotions or covering one motif with another. Her recent triptych of ‘Yeonji’, 2013 consists of three elements: a photograph showing the artist as a traditional Korean bride, her face obliterated by a red circle, a diptych of sound pipes, covered in red nail varnish and lipstick marks emanating the sound of Bong Sun Flower, a Korean resistance song with a significant literary reference in Theresa Hak Kyung Cha’s 1982 post-structuralist novel ‘Dictee’ and thirdly a life performance of the song with the artist covered by a giant cloth hand sewn from red circular pieces. All three elements reveal different rigorous approaches to layering and covering as a wider application of mark-making. This is congruent with the dense graphite mark formations of her much more minimal Ta-iL drawings.
Bada Song’s work is a confident and intriguing way of negotiating drawing from a premise, which does not limit it to a genre. Instead her gestural and semiotic approach opens drawing up as a cross-medial art form.
Bada Song was born in Jeju Island, and grew up in Seoul, Korea. She was awarded the Jerwood Prize( 2nd) for Drawing in 2012.
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