Choong-Sup Lim's art, most especially this body-or, if you would, these bodies-of work, animates the inanimate through the contextualization, composition, and/or juxtaposition of forms and materials in ways both sensuous and poetic. His combinations of materials, raw and transformed, natural and synthetic, provoke sensuous response, while the metaphoric suggestivity of his compositions- here so often simulating landscapes(or landscape elements)and, at the same time, conjuring tools, toys or weapons-provides the work's poesis.
The conjunction of these factors, one affecting us in the realm of the senses and the other registering in the realm of our more rarefied sensibilities, bespeaks Lim's belief in and expression of a life force in all matter, a universal "charge" animating even the least organic, most inert of things. This basically Taoist perspective has Western counterparts not only in certain early Christian (and later heretical) creeds but in the ancient Greek philosophic viewpoint of Hylozoism, a viewpoint(cited by Lim in his own writings) which propagated the belief that there is in fact no underlying distinction between dead and living, between matter and spirit.
A purely scientific reading of existence, at least this time, would conform to the hylozoistic view: everything is made up of basic electrical forces which cohere to each other in certain paterns, each particular multiplication of these patterns resulting in a different entity(and, at least according to some theorists, each pattern cohering because its components maintain the memory of having thus cohered previously). Thus everything is linked-or at least linkable -on the sub-atomic level, where this universal force pertains.