1 2 3
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.
The Annunciation
May 2019
Annunciation was one of the manifestations of the Genesis Trilogy followed by the transformation of the Time Machine. It is a series of functional sculptures (or tools) for fabricating parts of the future sonic/kinetic sculpture, inspired by reinterpreting Christian concepts of logos, Annunciation, and Incarnation.
The experience of conceiving the inner voice was a kind of profound religious revelation like Annunciation — I started to see Mother Mary as the epitome of a divine artist who gave birth to a revolutionary paradigm. This insight had a huge impact on how I perceived art and the relationship between idea, artist, and the artwork. The essence of the artistic practice resembles the incarnation of God in Christ through Mary: the idea comes to the artist, then he/she nurtures the idea to come alive. Art is the celebration of the birth of the idea, and motherhood was a genuine mindset of an artist. In that sense, art is the mother of all disciplines.
Annunciation, 2019
powder coated steel, plywood, cedar, metal-plated alginate, plexiglass and hardware
The Jig for the Spine, 2019
powder coated steel, plywood and hardware
23.5"x 4.5" x 48"h
Jig for the Cranium, 2019
powder coated steel, plywood, concrete and steel rod
19"x 19"x 53"h
Undiscovered Identity, 2019
powder coated steel, plywood, and CyberKnife surgical mask
Altar for the Sacred, 2019
powder coated steel, plywood and CyberKnife surgical mask
23"x 23"x 20.5"h
This table is a resting altar for the sacred who will play the music to overcome the illusion of life and death. The red-disc face will be the core representative element for future sculpture.
Mother Moulds for the Hands, 2019
powder coated steel, plywood and iron-plated alginate
6"x 8"x 16"h (left) 18"x 5.5"x 13"h (right)
These mother moulds were used to cast my fingers and partial hand into wax, then later casted into aluminum. After the maternal process, it has been aestheticized by the symbolic shapes and colors.
The Hands, 2019
aluminum and brass-plated
5"x 3"x 2"h
These aluminum and brass-plated hands and fingers will be used as instrumental part of playing music by creating kinetic sound and motion.
Project Proposal (written in February 2019)
It has been an exciting transition in the way I understand my practice of sculpture. While reflecting my previous works from London, I could perceive the boundary between idea, object and myself that affirms the independency between us while coexistence as a singularity. I thought about Mother Mary who conceived the son of God (timeless presence), and the meaning of Incarnation regarding the essence of the artistic practice as creating object by conceiving ideas. I was particularly interested in the moment Mary got the news about her son by the angel (known as Annunciation).
I desire to explore this discovery/reinterpretation deeply to invent/reform my identity. My early works tend to be separated from myself as physical imitations of my psyche and thought experiment that aim to communicate with the viewers autonomously. As I now perceive the independency of the artwork that represents my identity and the presence of timeless idea, I begin to wonder the image of the unity of the trinity in a set of environments such as performance and photography. I wonder if an object can affirm itself an identity throughout the multiple layers of processing after being made. I am curious how the discovery of its identity responds to and synthesizes with mine to pursue the present fraction of the knowledge of the vast idea.
I am interested in making several subjects of finalized cast that would combine with other found objects and structural materials such as wood and metal. I am planning to begin with making parts and develop into a completed object throughout the semester. I would like to explore heavy and durable materials with strong modular that allows a dynamic performance. Also, I hope to expand my dialogue with this project in terms of new technologies such as Artificial Intelligence, Augmented Reality, and biotechnology. I aim to achieve professional finish in physicality of the object and surface, and documentation as photography and video.
I will present this artwork in EXPO show at the end of semester.
Digital Fabrication Design, 2019
Illustrator
