Synthetic fabric, Moisturizing gel, Electric cable, Engine oil, Combat boots, Concrete, Laminated wooden table, Bricks, Rubber bands,Concrete, Lustre/Glacier Paper, Rocks, Plastic rope, Styrofoam, Projector, Elastic band, Non-woven fabric, Fluorescent bulb, Aluminum lampshade, Rubber gloves, Copper plate, Bakelite, Mirror, Cotton gloves, Toothpaste /
Size Variable / 視場地尺寸而定
( Installation view of Open Studio in Seoul Art Space_GEUMCHEON, Seoul, 2015 )
'Turnstile' represents my experience living in Seoul. It embodies a series of mental and cerebral transformation in my consciousness. Through metaphors in images, sculptures, and videos, I turn my own experiences of desire as well as that of the environment, on both an emotional and aesthetic level, into physicality.
During the process of collecting discarded materials (synthetic fabric, manila paper, Styrofoam, electric cables, chipboards, fluorescent bulbs, plastic bags, and other petrochemical products) near the artist residency site, I discovered a few objects possessing unique meanings: for example, a pair of Republic of Korea Army combat boots and a plastic tea table with mother-of-pearl lacquer decorations. I placed these objects with the volcanic rocks that I found on the Ulleung-do Island. These icons symbolize some sort of solidarity of Korea as a nation. My investigation focused more on the material qualities, not the constitution, of iconography, however. I painstakingly hauled my discoveries, some were encountered, and others were sought after, back to the studio, rearranged and modified them, and then carefully positioned them inside a well-conditioned indoor space. The whole process revealed how a distant sub consciousness could be channeled through reality, and furthermore reflected the emotive as well as spiritual components hidden within materials.
I intend to have the viewers wonder amongst the different art pieces, forming new connections with the inherent structures of various materials. The viewers may be able to interpret freely and become witnesses to the subtle signs of correspondence between a variety of civilizations. Working as an artist-in-residence is not only a methodology but also a tool for production. As if using a stone implement in prehistory times, I captured my “artwork” through labor, and demonstrated how art is closely related to a manufactured reality.
從藝術村所在地的工業區周圍撿拾廢料 (化纖布料、牛皮紙、保麗龍、電纜線、密集板、日光燈管、塑膠袋等石化產品) ，我在當中發現一些別具意涵的物件，譬如韓國陸軍軍靴，印有黑色螺鈿漆器 (Mother-Of-Pearl Lacquer) 圖紋的塑膠茶桌，我將它們和鬱陵島 (Ulleung-do) 上撿拾的火山岩石放置在一起，這些圖像分別代表了韓國的某種主體性，然而我更關注這些圖像的材料而非構成，巧遇或自發性取得的人造材料，大費周章地將它們由街道移入工作室，經過重新的組合與改造，又被小心翼翼地放置在屋內，整個過程揭示了如何由現實通向一個更遙遠的潛意識，並折射出材料內部所隱藏的感覺與精神層次。