Lee Bul does not make art that is designed to comfort you.

Her latest collection at the Hayward Gallery on the South Bank is a culmination of thirty years work. To step through each room is to follow Bul’s journey as she has explored the pursuit of perfection—and its potential pitfalls—through the last forty years.

Crashing is designed to transport the public into ‘another place, another time’ and succeeds in this instantly. As you step into the first room of the Hayward, soft light is cast from within the corner. Civias Solis II projects reflected and fragmented patterns of light across the pale gallery walls. You are submerged into a dreamlike state wherein Bul has peeled back the shallow surface of our world and revealed what lies beneath, and what could be yet to come.

In this surreal echo of our world, you are immediately brought face to face with Bul’s reflection of the self.

Amorphous shapes hang from the ceiling and sit directly in front of the entrance doors. At first, they are barely recognisable as people, but then you see the arms, and legs, trying to drag themselves free from inside the pieces, which are from the aptly named series: Monster. Despite the grotesque shaping, these soft sculptures are tantric, and their fleshy palette suggests—as Bul intended—that there is a ‘vulnerability’ to being human.

If Monster is Bul’s representation of the natural self, Cyborgs (1998) reflects how people try to build an image of themselves. Reminiscent of ancient Greco-Roman statues and yet also of anime from the early nineties, feminine forms are suspended from the ceiling. Though they are all headless, they watch you and stand guard in their cartoonish, extra-terrestrial armour.

One of Bul’s inspirations is sci-fi, and in this is evident in this room and throughout the exhibition. In the late 20^th century and especially after the Cold War, bright utopian ideas of the future captivated the world, which was desperate to forget the horrific past. Despite these glimmering, chrome covered dreams, Bul was sceptical of these notions of the future, and creates art which reflects that.

Though some of Bul’s paintings, sketches and videos of her performance art are displayed on the walls and available to listen and watch, it is through the medium of sculpture that I think Bul creates the biggest impact. Despite the different mediums and subjects, each work is still identifiable as hers. To walk into room three of the Hayward is the greeted by two geode-like structures—they are separate pieces, but both are heavily influenced by the politics of South Korea, during the late 20^th century when Bul was growing up.

Black beads spill across the floor, before pooling in a highly reflective puddle. They appear to be flowing out of a block of ‘ice’, which gives the piece it’s quite literal title: Thaw (Takaki Masao). There is a photograph buried beneath the ice from which the beads seep out: it is a portrait of Park Chung-Hee, the former president of South Korea, who was supported by the US but created a very repressive regime. He was eventually assassinated in 1979, and the oozing black from this crystalline sculpture is evocative of blood.

The other piece which welcomes you to room three is Bunker (M. Bahktin).  A cave like structure that is interactive. When inside, visitors to the gallery put on headphones and are encouraged to make a noise—clapping, tapping your foot, clicking— through the headphones we hear the noises we make distorted and amplified. If you were to shut your eyes, it could be easy to trick yourself into thinking that you were in a vast space.

When you are in inside Bunker Bul warps the world around you, and subsequently momentarily alters how we see ourselves. When standing within the bunker, I was very conscious of the noise my clapping and clicking would make, disturbing the other guests. In this sense, the sculpture is aptly named—Mikhail Bahtkin was a literary critic and philosopher who claimed that our identity is directly correlated by our relationship with the world around us.

The exhibition continues upstairs, and as you reach the final two rooms there is a slight change in atmosphere. Downstairs, there are at least five to seven exhibits filling every space. Upstairs, the rooms are sparse.

Stepping into room four, I was immediately anxious— Bul is known for incorporating the gallery space into her exhibitions, and this is one such example. The entire floor was foiled with silver, and while I was stood in the gallery, I felt the strange sensation that I wasn’t supposed to be there.

The gallery attendant smiled at me, and yet, I felt like I was doing something naughty.

At any moment, I was expecting someone to catch me. To tell me to leave.

It is interesting then, that the title of the focal sculpture in the penultimate room is Willing to be Vulnerable.

For this piece, Bul has created a large foil zeppelin. The argent exterior and exposed seams are recognisable as being from Bul’s retro sci-fi field of inspiration. Zeppelins were once a symbol of great scientific progress and were the first ships to be used for commercial flight. The title, Willing to be Vulnerable, references the Hindenburg disaster, where thirty-six people died when an airship caught fire whilst trying to land in New Jersey.  

Willing to be Vulnerable is perhaps the piece which most clearly conveys Lee Bul’s exploration of the dangers of perfection.

Following the foil-covered floor, you are lead towards Via Negativa II. It is through the names of her pieces that you see the influence of philosophy behind her work. The largely introspective pieces—which literally forces the viewer to reflect on themselves and the gallery around them—draws its name from the theory that it is impossible to describe God in finite terminology; the human mind is too limited to say what God is, we can only truly describe what he isn’t.

This is the climax of the exhibition.

After exploring the ideas of utopia, one of Bul’s final piece forces the viewer to look back upon themselves.  A mirror labyrinth which is unsettling to walk through—after all, it constantly feels as though someone is watching you. There is no certainty as you follow the path, as Bul angles the mirrors to feel claustrophobic and bounce their own reflections from each other to give the impression of pathways where there are none.

But when you finally make your way through the maze, a room lies in wait within the centre. The seemingly endless rows of lightbulbs feel as though are a giant standing in between the golden stars of an infinite space—and a comforting warmth radiates through the enclosed space. Unlike the rest of the installations, this is a piece which instils hope.

Lee Bul’s artwork is a reaction to the world around her—especially that of life within South Korea and the experiences she’s faced a woman. As a formal end to the Korean civil war is in sight, and women’s rights are thrown into the spotlight, I am eager to see what Bul creates next.

Lee Bul: Crashing is running at the Hayward Gallery is running 30^th May – 19^th August 2018.

By Phoebe Hedges.