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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.
Transformation Process
of Time Machine
After five months of studying abroad at the Chelsea College of Arts in London, I came back to Chicago in early 2019 and reunited with my works. The experience of writing Genesis Trilogy began to manifest in multiple ways: first, I completely transformed Time Machine by burning it.
A sacred ritual for the Time Machine felt necessary to follow up with the new discovery of my identity. Second, I simplified the whole system by removing unnecessary features and customizing PCB with upgraded microcontrollers and wiring in order to make it aesthetically completed.
Some of the transformations were made by accidents which I rather regard as a passive demand from Time Machine. For example, the outlet of the air compressor got a tiny crack by over-tightening which caused a constant air leak. This changed the whole dynamics of the performance. Now the sound of inflation caused unpredictable patterns during the symphony. Interestingly, however, Time Machine became much more alive than before.
I charred all the wood surfaces, and stained with red. Then, I applied clear lacquer. After it dried, I lightly sanded the surface and applied wax to buff and shine.
For metal surfaces, I plated with either brass or iron, then applied different patinas to achieve layers of natural aging color. Also, I colored most of hardware by power coating.
I accidentally shorted the circuit inside the pendulum which completely burned the whole electronic components: Arduino Uno, TIP circuit and DC power converter (Fortunately, the solenoid was fine). So I replaced them with an upgraded system.
I switched Arduino Uno to Nano, and customized PBC by using Fritzing and milling machine. Also, I switched flimsy wires to JST SM connectors to improve stability and convenience.
For the Activator, I changed the color of LED to yellow (later changed again to ultraviolet in New York) as well as metal covers (from yellow and blue to silver by powder coating)
In addition, I simplified the internal circuits by removing the feedback system which included pairs of amps, speakers and piezo microphones.
Then, I installed one of the feedback systems inside the pendulum: I attached a piezo microphone onto the solenoid and amplified the noise within the Time Space. Here, I was calibrating to find the proper frequency.
Outdoor installation at Senior Expo, 2019