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시선,
영원 속으로
Gaze into Eternity
시선,
영원 속으로
Gaze into Eternity
Gifts from
Germany
Telepathy And Landscapes
Telepathy And Landscapes
July 2018
Readymade Objects
Group Exhibition Zeitgeist at the Institut Für Alles Mögliche in Berlin
Close-to-perfect orientation and curatorship at the exhibitions in Germany was my great inspiration during the study trip for Dada. Using readymade objects, I created a series of artworks that function as decorative containers for the gifts I bought for my friends and family.
2018 - 2019
Archival project to explore the beauty of Korea
The ongoing archives of Telepathy And Landscapes (TAL) currently include visual and sound documentation of performances, conversations, objects and field researches.
Since 2018, I became very interested in the origin of my cultural background to research the context of my superego after having traveled around the Europe in summer. I have grown up mostly in a western environment as my parents sent me to a private Christian elementary school in Korea, and I moved alone to Canada at my age 14. Although I never had a good
chance to deeply inquire about my national identity, I always knew by heart that my conscience was deeply rooted in the culture of Korea.
When I came to visit home during the vacations, I had field trips to historic places to trace down my national identity and made a series of collaborative projects to explore the visual aesthetic and philosophy of Korea. In 2019, my friends and I formed an anonymous performance group named TAL (Telepathy And Landscapes), meaning mask in Korean (referring to Hahoe Mask). The purpose of this collective movement is to understand our origin in-depth by researching, performing, and making civic scale art to raise awareness to appreciate the intrinsic value of Korean folk rituals, shamanism, architecture, and natural landscapes.
2018 - 2019
Archival project to explore the beauty of Korea
The ongoing archives of Telepathy And Landscapes (TAL) currently include visual and sound documentation of performances, conversations, objects and field researches.
Since 2018, I became very interested in the origin of my cultural background to research the context of my superego after having traveled around the Europe in summer. I have grown up mostly in a western environment as my parents sent me to a private Christian elementary school in Korea, and I moved alone to Canada at my age 14. Although I never had a good
chance to deeply inquire about my national identity, I always knew by heart that my conscience was deeply rooted in the culture of Korea.
When I came to visit home during the vacations, I had field trips to historic places to trace down my national identity and made a series of collaborative projects to explore the visual aesthetic and philosophy of Korea. In 2019, my friends and I formed an anonymous performance group named TAL (Telepathy And Landscapes), meaning mask in Korean (referring to Hahoe Mask). The purpose of this collective movement is to understand our origin in-depth by researching, performing, and making civic scale art to raise awareness to appreciate the intrinsic value of Korean folk rituals, shamanism, architecture, and natural landscapes.
Home
Curated for five-minutes presentation
September 2018
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(Left) Chung-Do, July 2018
(Right-Bottom) Pimlico, August 2018
(Right-Top) Westminster, September 2018
For last three months, from July to September, I have been wandering around the Europe and Korea, and ended up here in London. Since I have moved out from my apartment in Chicago this Summer, my home has been a temporary space to stay only for a short while. My journey was a breakthrough in finding and building my national identity and aesthetic. Being selfless and boundless, while in Switzerland, Germany and Italy, I felt very connected to their cultures. I was learning their history and becoming part of participating their future. Like Odyssey returning home with fading memories, but undeniable nostalgia, I went back to my home in Korea.
"As photographs give people an imaginary possession of a past that is unreal, they also help people to take possession of space in which they are insecure."
"On Photography" Susan Sontag
Goodbye Tomorrow
My Room, Korea
Home, not a real home, strange, and lonely, but the only space where you can hide yourself from the world.
In contrast, my home in Korea is overwhelmingly calm all day. The sound of nature from organic livings is soothing, but it also sounds like repetitive frequency of mechanics that reminds Chicago. A sense of insecurity from the overlapping experience of home in different spaces created the surreal moments when the mixture of nostalgia from both past and future came across.
My Room, Chicago
My home is a small farming town in the city called Chung-do in South Korea. My family has moved here about two years ago after my parents retired. Since then, I have started to live in Chicago, and I can get to visit my home only once or twice a year. It is completely different atmosphere and environment between Chung-do and Chicago. I have lived in an apartment, called Randolph Tower, among the Illinois government departments in Chicago loop where is always crowded and dynamic. The loudness of Chicago "L"(elevated train) resonates in the forrest of tall buildings for 24 hours. My Chicago home was the iconic place for the city life.
Hulti-ro, Korea
Credit: Eunice Choi
On the way home
Credit: Eunice Choi
Homie and Ryan
Home in Dream
2017
Oil Pastel on Paper
650 x 520 mm
I have two lovely dogs at home, Homie and Ryan. I feel very connected with them when I am home. This painting depicts dream of Homie (on the right).
In the end of August, I left home again to live in London for 4 months. Pimlico was the place where I stayed the first two weeks, searching for the longer term lease in London. The difficulty of finding a new home while living in the temporary home again reinforced the insecurity of the space where I live. I took photographs and videos of these spaces, and posted them on Instagram to "take the possession of space" where I am insecure. The process of turning the space into a personal possession which I can keep and look at again affirms the intimate interconnection between me and the space.
"taking photographs is also a way of refusing it— by limiting experience to a search for the photogenic, by converting experience into an image, a souvenir."
"On Photography" Susan Sontag