Piling Time Using Digital & Analog- Time

 

I frequently ponder the meaning of my work. In my twenties, I used to devote my entire time to work as if my life as an artist was the only life that mattered to me. In my thirties, work itself turned into a struggle as my daily surroundings changed with marriage and motherhood. Now, in my forties, although I still strive and struggle not to let go of the cord of my work, life has changed as such to endow upon me both hope and despair.

 

Having spent my college years during the political turbulence in Korean the 80s, I still cannot let go of the feeling of how my work could be insignificant whenever I encounter fellow artists' works on larger social, and political issues. My peculiar interest in "piling time" is neither a social topic nor an issue that attracts enthusiastic debate. To the artist in me, "piling time" is a narration of human life; it is a task of expressing, as an image, the process in which days pass and time is accumulated to create one's life. Time being my subject matter, every day-to-day experience of myself becomes a component of my work.

 

The numerous lines in my work signify the diverse experiences faced in our lives, hence my work is a story of our lives. I reconstructed single layers that signify experiences throughout time into multiple layers, the layers accumulating into their present state. This series of work on 'time' is encapsulated in painting, print, collage, digital print, motion graphics, etc.

 

The recent exhibition showcases the experimental 'three-dimensional digital print (Digital + Analog)', which is a digital print put on top of conventional analog texture, and motion graphics of my works in moving images based on this concept of piling time.  I believe these latest installments make it clearer to the public the process I use to arrive at my final product. At the same time, the print and the motion graphics, by co-existing in a singular space, complement each other with their still and dynamic nature. 

Piling Time and Moving 2006 maintain the existing image of my previous works, while at the same time presenting the movements of the layers, an element which was non-existent in the two-dimensional print, thereby making the theme of my work more accessible and giving more meaning to the works.