Turnstile 旋轉門系列 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 / 化學纖維布料、保濕凝膠、電線、機油、軍靴、混凝⼟、塑膠貼皮⽊桌、磚塊、橡⽪筋、光亮冰川紙、石頭、塑膠繩、投影機、鬆緊帶、不織布、日光燈管、鋁質燈罩、保麗龍、橡膠手套、紅銅片、電木板、鏡子、棉手套、牙膏 Size Variable / 視場地尺寸而定 2015 ( 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.