The overarching identity of the Changwon Sculpture Biennale 2020 revolves around the concept of “non-sculpture.” The grid motif applied in the background represents conventional sculptures, which are largely tethered to the rules of physics in terms of forms and shapes, while the typography on top, which protrudes in a distorted yet dynamic way, can be considered a manifestation of the “struggle” to take a leap into a new level through “self-denial” and “self-reflection.”
The typeface is avant-garde in form thanks to a rhythmical silhouette created by the contrast between the scale of each letter. This blends in harmoniously with the main identity delivered through its dynamic form. The highly saturated violet adopted as the main color, adds light energy to the underlying concept of identity previously described through the idea of “Gestures.” Ultimately, this unconventional attempt reflects a mysterious type of aura emanating from the unknown field of “non-sculpture.”
The overall color scheme was designed to highlight the powerful contrast between violet and white for a strong visual identity. The poster features a cross between two A2-sized color versions to improve visibility, and a motif with contrasting colors and a grid pattern was developed for various applications, including animations. In doing so, the creators attempted to produce an even more interesting and vibrant visual.
The “non-sculpture” identity of this year’s Biennale is not only a “gesture” towards a new world of art, but also an expression of “dance.” It is an expression of the organizer’s yearning to engage the public and make the Biennale an exciting festival. In other words, it bottles the hope for the Changwon Sculpture Biennale to realize its unlimited potential this year.
