Demoli-Creation / Byun, Si Jae
August 11 - September 1, 2010
vedio installation, 2010
 
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Demoli-Creation & Healing and Regeneration


Expansion of contemporary art swung historical pedigree open for creative work.
Byun si jae with the viewers attracted into her old experienced space excluded vague language that tries to speak for the reason why she desire or resist. Communication, in any form, is possible behind generalization. This interesting technique called stop-motion animation enables easier access to her artwork reflecting serious stories rather in a light way distant from pressure to attain depth of history behind reproduction created by contemporary art.

Human inevitably reacts to familial and social destiny. If Byun si jae’s previous works were response to how she had become herself, this exhibition, “Demoli-Creation,” serves creation and destruction of architecture around us. She turned her perspective from personal story to the outer world. It could be expansion from “I” to “we” and “my” story to “society”, but in a bigger picture, it is a conclusion of her active involvement in existing society or system. This work also starts from extension of the world that she has been questioning from her early life.
Digging up a negative perspective towards society could have been interesting, however, she barely provides those kind of argumentative experience. If particularly searched for one, it shows awareness of cycle of pain, creation, destruction, and back to pain, created from her imagination added to mythological storytelling of fertile material civilization.
Today, the civilization that we live in seeks for new aspect, which could be well harmonized in our space that we could not accept as it was. As if enduring our destiny of constant change, green-curtained earth has been dug and tower cranes here and there build steel frame structures. The artist, who is more familiar to green construction curtains in her usual route than having experience in verdure, built giant green house stitched with construction fence cloth imagining what happens inside. Before it is called spectacular structure built after suffering times, it could be analogue expressed space that social system adopting biological concept piled up with imagination of the artist. For a higher structure, the earth is dug deeper. In her video composed of breathing city and operating city, the earth made with pieced bra symbolizes mother’s bosom and it embraces all material matters. To her, green space that draws line between inside and outside is reproduced to a womb that brings life and rest. The creation and destruction inside that womb concludes with healing and regeneration.
To her, green symbolizes hope. At the same time, it is a border between reality and imagination and is also a gown of a performing doctor.
Blood of a bird stuck in toothed gears stops breath of the earth. Inside the city on the operating table, a bird found freedom and the raising city once again; as if the season come and gone, the artist repetitively destructs and rebuilds the world.

Compulsory imagination is an image of what could be found in the artist’s internal diary and we face sublimity extracted from there. It appears in organic relationship of human, nature, and artifact (city). What the artist eventually emphasizes in rotating link of pain, creation, and destruction is acceptance. It is reconciling with the hostility against the world and myself and enduring agony from destination. Like a soaring bird dyed its blood.