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One psychologist said, people who cannot remember their past have trouble with imagining their future. To imagine the future specifically, the experience and memory must be restored. In this way, Memories and Media are somewhat alike. Prospective memory is based on retrospective memory. What if the imagination is made up with the relevant memories from the future and the past that I can find, the creation would be an infinite combination of the most plausible possibilities by combining old memories. Film and video as media are located in-between experience, document and prediction.
Questioning things naturally taken for granted
My works have been started by a question about things that have created since the past and taken for granted. For instance, the existence of "zero" or "ghosts", something’s name and significance cannot be the same. "0" is the symbol of something’s absence but it doesn’t mean that it’s not existent. Ghost is the state of being a spirit without body. These peculiar images are destined to prove their existence by making themselves continuously emptied. They have been condensed behind the displays and stayed in the form of between language and code/symbol. I have focused on these image shells and the temperature of their emptied bodies.
Distances between movements of camera and objects
Focusing on this issue is practiced with doubts about the common relationships between the various frames and the bodies which shape our everyday lives; judging-perceiving paradigm and spatial-temporal frame on various displays.
For getting higher definition video images, the camera automatically carries out its image processing functions - de-noising, auto-focus, auto-exposure etc. In this framing process, the images are divided into two parts that are selected and those are left out. I deal with the accurate tensions among the visible and invisible, and how condensed or omitted time errors built and accumulated the durations. Furthermore, these issues are moved on to the moment that video is on screen/display after editing. I’m focusing on a series of mechanically soothed processes and suggesting another way of interpreting coded images.
Uncomfortable Posture Project(2014-2016), a series of works using various media including drawings, objects and performance, shows framed body movements in several situations. In framing process, the images are divided into two parts that are selected (the visible) and those are left out (the invisible). A video installation work unseen scenes(2016) deal with the delicate tensions between three frames of camera, screen and performer and offer a surreal experiences of image-sound. #0000000(2016) suggests the way to crack the social code of ‘dark’ with a combination of phrases failed to be converted, various ambient sound clips, raw image pixels and colour-matte(or solid) which is called neo-material in our generation. In V.D.O room(2017) and Rocking rounds(2018), I focused more on two conflicting things - the external and internal world, the heaven and the earth, and camera image processing and memories from my brain.
People already have been accustomed to well-refined images on sleek displays. And we are living with the dust and the particles on screen and these dusty particles are in the state of unstable vibration. In this flow, however, my interests are in very rough and abstract images. These images are truthful shadow as the testament of existence and the natural doubt in uncertain belief. In the midst of a huge hurricane of images and time, I’m surfing the narratives with these shadows by exposing their own speed/duration and materiality. Not to be absorbed easily into a single core of meaning that the world has created, I’m trying to catch the dust floating on the surface of the world and making pluralistic and contentious combinations.
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