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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.
Genesis Trilogy
December 2018
Consists of poem ("Genesis"), drawings (20 Chants of Sonogram), and moving image (Your Presence Within What is Independent from You)
Genesis Trilogy consists of three different formats: poem, drawings, and moving image. This work has inspired several other projects: Annunciation and Transformation of Time Machine. In addition, this work led to writing a manifesto for my future audience.
In Fall 2018, I moved to London to study abroad at Chelsea College of Arts. Spending most of my time in solitude reflecting on my past projects, I established the context of my artistic practice to search for my potential audience. In the process, I curated my first hypothetical solo show "The Birth: Celebration in Art" based on Sofia Zoë's art theory of Container Technology.
I composed the artist statement in poetic form by following the inner voice of the mysterious psychological agent deep inside my psyche. It almost happened spontaneously beginning with a voice calling "Genesis". This inner voice directly guided my writing effortlessly independent from my conscious. I was so fascinated that I needed to investigate the origin and purpose of this inner voice: I broke down the poem into minimal units of dialogue, then made an abstract drawing of each alphabet to acquire a visual fragment of the whole dialogue. Each alphabet became a frame and each line a scene — a total of 579 frames with 20 scenes composed into a 2-minutes stop-motion video.
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