Photo: Linger Red Beads, Lee Bul, 2001.

Switching her bravery level to 11, Kerry Patterson headed to Glasgow to check out some monsters.

As exhibition titles go, ‘The Monster Show’ is an intriguing one. Was the title as simple as it appeared, and just what kind of monsters would the show contain?

It was with these questions in mind that I went into Lee Bul’s exhibition, unsure of what exactly to expect.

‘The Monster Show’ is the Korean artist’s first solo show in the UK, on at the CCA until September 28. As I soon learnt, the ‘Monster’ of the title refers to the artist’s use of cyborgs, which form the basis of her work.

Lee states she is interested in the idea of "superhuman power, the cult of technology, and girlish vulnerability working in ambiguous concert within this image of the cyborg."

Drawing her influences from technology and cinema, Lee Bul’s sculptures explore the strengths of human and machine, or more precisely, woman and machine.

Photo: Cyborgs in Production, Lee Bul, 1998.

Yet despite all this, the works are not as threatening, or indeed, monstrous as their influences would suggest. The hi-tech silicone busts of ‘Vanish’ glow almost comfortingly in green, blue and pink.

Headless, armless, and with female curves, the sculptures bear a strong resemblance to the conventions of classical Greek and Roman busts.

The centrepiece of the show is undoubtedly the group of four sculptures, numbered from Cyborg W1 to Cyborg W4. The voluptuous curves of these white forms identify them unmistakably as female and their armour-plated bodies give them the appearance of Japanese Manga characters. Yet, as each is headless and missing an arm and a leg, they call to mind the Venus de Milo.

As in ‘Vanish’, the artist’s use of classical art influences is unexpected. It lends gravity to the sculptures, to the extent that gives them a history and puts them in context. Unlike the illuminated sculptures, the stark white colour of Cyborgs W1 to W4 makes them look cold.

Suspended from the ceiling, and in a seemingly unfinished state, they look somehow defenceless, even with their futuristic armour.

With her sculptures, Lee questions the gendering of technology. The cyborgs represent a male desire to see strength combined with the most favourable female qualities.

Photo: Cyborg Red, Cyborg Blue, Lee Bul, 1997-8.

Despite the smooth and flawless appearance of the cyborgs, human qualities are shown not only in their womanly curves but also in their vulnerability.

The artist’s ‘Monster Drawings’ provide an interesting balance to the exhibition. The expressive, curves of the ink line drawings seem at first to be at odds with the sculptural works. Yet on closer inspection, the cellular shapes could quite easily become the armour of the female cyborgs.

Equally, the jellyfish-like tendrils in the drawings are like the plastic piping the artist uses in ‘Cyborg Red and Blue.’ With her series of drawings, Lee shows how close organic and mechanic can be and how the two can merge into each other.

The concept of ‘The Monster Show’ is more complex than the title of the exhibition suggests.

While the cyborgs may appear at first to be both monstrous and perfect, on closer inspection, Lee shows how they can be vulnerable and flawed.

In her work, both the human and the technical have their own strengths, weaknesses and type of beauty.