I put a special attention on connection between humans, objects and something that cannot be recognized in those assemblages. And I find a high charge of sensorial ambivalence that could nurture or intervene human perception under a technological system. In between variety of appearances driven by a stimulative culture, what I experience is full of artificial strength; condensation of figures and dissonant echoes that are driven by too much celluloid, too many words, too much time, is being devoted to nothing of interest. Also, I believe in the end of genuine change, in status of images and sounds can be concluded as an issue of spatiality and temporality, then my inability to identify the mass breaks the sequential moments of memory, and reality becomes a continuity. My creative practices realizes appearances and transmissions based on my contemplation over mundane surroundings that are showing very fast movements that cannot be perceived by human vision, or presenting from slowly changing movements, then transforms the spatial visibility of images or symbols over meanings into a non-chronological timeline. My work seeks a cognitive pathway from the passive nature of invisible interface driven by arrangements, which trace the proximity to the boundaries of human mind in order to actively participate one in feelings rather than intellects. From my artworks ‘distant light (2012)’ and ‘my eyes your eyes (2011)’, I find a ‘light’ from the distance, or a ‘ghost’ that removes a weight of body and soul, to open person’s consciousness to the present moment.
distant Light (2013)
my eyes your eyes (2011)
These installations question existence in multiplicity beyond what appeared to be seen. Because we cannot see every details between anything with bare eyes. It blurs, then, the visible sign of complex interplay between the subjects and the eyes become ambiguous. Through these artistic practices that aimed to look inside of what appear to be seen, I have started developing unseen or hidden aspect of human consciousness with improvised conversations about ‘transcendence’ in the recent installation ‘traum (2014)’.
This work focuses on how the dream works, disappearing into the shadow while looking into the ambivalent space, then the individuals may question themselves as transcendental beings: perceiving appearances as unreal or ephemeral in the ‘accelerated moment’ that is driven by apparent changes. Based on my understandings and practices in designing a digital interface and interactivity between space and time, my work responds to the infinite interpretations of appearances and repetitions of ambivalences that are not dependent on each other nor have comparative merits but hold independent positions while functioning in each other’s relation. In the exhibition space I designed, each viewer extends his/her own narrative experience. The viewer first has to face the several phases of agnosia, a disorder characterized by the loss of ability to recognize objects, persons, sounds, shapes – the inability to recognize own body and its attendant confusion, the phenomenon of appropriation of virtual parts of the space. This physical interface re-configures both actual and virtual spaces and various other technological devices as well as the viewers, affording a rich and complex sensorial experience. My work will explore the constant challenges of visual and aural encounters against the fragility of human-perception that is very much reliant on its reflectivity.