|Creating concepts traversing my works [korean]|
Discovering three following concepts was an inevitable and immanent post-factum cause producing humorous affection which leads to creation and support of my work as well as being formal idiosyncrasy of them.
<shadowless> ; Works with no frontality nor faces. They penetrate through the "creeping pieces" that are mere "surfaces" with no thickness that are innumerably seen among my works. Those installations retain not much thickness nor height when they are installed on walls or even floors. They are, in a perspective, resistant treatments to defy being individual sculptures that pursue "lopsided attention" by being more three-dimensional. However, the artistic operation of the not-at-all fixated work-holding no such disposable body nor sculptural entity just like a ghost- that has already filtered through artistic values or concepts such as plasticity nor uniqueness, is not emitted by the artistic object itself or contained within. It only gains certain "fields" created by primary connections and affections from time to time. In short, it means that we cannot only experience the conditions(differences) set by the karma system called "temporality" nor keep it open that way.
<artless> ; Forms of deviation that are more of a trial
and error type. The concept stands for rather technique-less works.
Wills of expression with no personality that resist spontaneous identity
Non-subjective wills of creation. Working condition-rhythms with no
unity nor consistency, reciprocal forms or irresponsible arrangements
with random forms of time with no development showing its time or era.
Installations without definite forms. Objects existing with no necessity.
Or even hidden or not revealed enough forms of exhibitions with insufficient
exterior. Forms of exhibitions that are capable of being parasitic on
any places therefore whoever could design and furthermore neglecting
-- However, the classification of my works' concepts mentioned above is only significant because of the fun the process holds. In reality, they are already involved with or influence each other.
As medicines and foods with expiration dates, I hereby state that
my works too, have expiration dates. I was deeply worried that for
how long artworks should be respected of their value and significance.
In my perspective, artworks today should start on the realization understanding
that it will not receive constant attention. Not only that, even for
the most superb works of art, the permanent reign in public spaces is
already nothing but an empowerment and a tyranny. Whether the value
is evaluated in art historic sense or art-market-wise, it is a totally
differenct factor from the power that draws out the artistic affection
of its times. Artworks too, just like foods, maintains us through our
time but could be an already rotten emotions. I do not deny that they
hold their value as an antique, but I think that the artistic function
of art nowadays is far from antique values.
the other keywords of my works
level scape/level mind
|on the meta-pattern|
|the politics of zebra|