Sweet Home
"House as a space where peace and freedom are guaranteed is disappearing. Currently, the house we live in has become a tool of luxury and has been shaped into an ambiguous shape, but no one listens to the groans coming out of it. Now let's get out of a harsh, unfamiliar house and enter a dream-like house with familiarity, warmth, and sweetness." <Writer's Note, 2019>
<Sweet Home> is a work that started with the question of what is the original value of a house in response to the reality that housing-related policies, culture, and businesses are considered the hottest issues in the contemporary era. Today, the house has developed in the sense of economic value beyond housing and have become a measure of assets. At the same time, the house as a property caused extreme polarization in modern society, resulting in the loss of the value of the abyss given by the house. i think man can get essential energy from possible actions because they are at home, such as eating, washing, sleeping, laziness, enjoying solitude, and being daydreamed. However, the original values of the house still exist, but their form has changed. The house as an inner space where moments of life are concentrated has become a house that is just observed from the outside as a property and a luxury item. This is because external conditions such as the price, location, floor space, and interior of the house stand superior to the internal meaning of the house. Therefore, tried to reveal the reality that the meaning of the house as an external condition cannot be denied while recalling the internal meaning of the house lost through <Sweet Home>. To express this, objects such as pebbles, vases, silver foils, shovels, and cushions commonly found in everyday life and heterogeneous materials such as colorful patterns of sheets, liquor decorations, and feathers were collected and recombined in a manner of coincidence and contradiction. There is no uniform shape in <Sweet Home>. It has a free and unique combination and is full of light and meaningless materials. Use formative language through intuition and coincidence by mixing various materials in everyday life. Various materials that seem unrelated are freely intertwined and entangled to occupy space. Gilles Deleuze (1925~1995) saw that all beings have an absolute difference from others or 'difference itself' and infinite potential was revealed in various ways.
<Infinite space>, 2019, acrylic on fabric,
size variable
<Shaking shape>, 2019, a wooden door,
artificial flower,acrylic,
60×40cm
<Shaking Shape> is a work that depicts shadows created in response to artificial flower on wooden boards. The accidental potential of being a shadow created by other objects being placed on an empty wooden board is the principle of the researcher's work formation and a condition to lead to infinite potential. In this way, gaps that are naturally created when objects are related to each other mediate the external environment and spirit and create new meanings through differences between each other. Deleuze saw that the infinite potential of differences can be grasped when they move away from the framework of our customs and concepts. The complex combination of "Sweet Home" is difficult to understand immediately. This represents the complexly intertwined inner nature of house, while at the same time inducing them to feel a sense rather than thinking about things rationally. It ignores the limitation of perception of objects through material incongruity. In this way, the objects of "Sweet Home" are unique combinations between objects, allowing you to feel a different sensory play away from everyday physical justice. And this is that infinite potential is created by Deleuze said. Furthermore, the intention of this appreciation is to remind a house where all emotions and memories exist in combination, not a house where only the meaning of 'property' is emphasized by the principle of capitalist usefulness. And as these multimedia complex interconnections are placed in space, they are further maximized and their meaning is also expanded.
The work becomes ambiguous due to this difference, and as it is placed in space, it creates a sculpture of the moment and creates numerous intimate image terms. Works placed in each position come in uncanny forms through the "intentional ambiguous combination" of materials available in everyday life. Furthermore, the ambiguity contained in the work is ambivalent because it denies the viewpoints or customary thinking that stand superior in reality by revealing forgotten or alienated beings.
<Shaking Lamp>, 2019, steel,fabric,acrylic, 53×30×10cm
<The Unlogical Nature of Dreams>, 2019, Slippers, urethane vinyl, stickers, beanbag, wooden boards, fur, sponge , size variable
Looking at the <Sweet Home>, each individual works is scattered sporadically. Therefore, the boundary between the work and the work is ambiguous. This ambiguity makes the space itself a work. And visitors freely pass through objects located here and there and participate in the work to establish an intimate relationship with the work. In other words, visitors can enter the theatrical stage and enjoy the work in a more autonomous state, just as they become members of the play and experience the play.
For a direct meeting with the work, a cushion that can be seated with a device that can participate, such as <The Unlogical Nature of Dreams>, was arranged. When a participant enters a walled space and sits on a cushion, it induces the illusion of moving from the real world to another space. In addition, the positions of "wooden boards with sheets attached that cause optical illusion," "artificial fur," and "plates with circles" are different, but they are all leaning against the wall. The participants also sit leaning against the cushion. Participants in similar positions to the work are tied together in the same position, not in confrontation with objects. In this way, the arrangement and situation that induce direct participation in the work form an organic context between objects and visitors and constantly create new meanings.
In the work, various heterogeneous objects are expressed in a dual and contradictory way, repeating inconsistency and division. Then it becomes an ambiguous object through a gap between things. And I capture the existence of dregs from various perspectives by stimulating the viewer's independent autonomy through this ambiguity.
<Beautiful things>, 116×25×25cm, steel,fur,sponge,fabric, 2019> Next