Note about
'Inside Resonance' is a project that seeking to vibrate with each other, the way it resound and the possibility of gestures.
Just as the wavelength of sound resonates through vibration, the work is about sharing the body through continuous movements, such as movements of movement of movement, and to be resonate.
However, this is not as easy because the screen surface, which has caught our eye, in the smart age, overwhelmingly presents cutting-edge physical environment and a change in the way we communicate.
The approach of the work begins between these boundaries.
The smartphone is in one hand, the drum is in both ears, the whole skin is dancing, and the gaze is walking a continuous tightrope between the screen and the body movement.
The biggest change during Project 1, 2, and 3 is certainly the impact of the untact brought by the Pandemic situation. At first exhibition, I wanted to create a consensus by reducing the distance between people and people as much as possible,
- From the second exhibition, 'distancing' was set as a choreography under the influence of the current regulating situation. For example, 1-2, 2-3, 3-4, 4-5, can be seen the people next to each other, but 1-3, 2-4, or 2-5, is an untouchable, resulted in a highly fragmented formation.
- Another is that a video call, dubbed the caller, was inserted. The caller acts as a choreographer (starting point) in the monitor and is transmitted over the network in a completely different space. Eventually, the monitor's transmission of choreography spreads in a 1-2-3-4-5 manner, resulting in a series of factors such as noticing, buffering, imitating, and a bug among performers.
- At the same time, there is another way of communication in the open chat room where anonymous performers, participants and visitors communicate. Anonymity and volatilism prevail in this space.
- Finally, a live form of performance. In the first one, sound was sent to the exhibition hall through speaker with audio edited, while in the second, visitors improvised, and performers moved accordingly. In the third, drummers are invited to improve the quality of the performance, and both sound and movement are performed live.
Artist’s note
To me, work always comes as a physical being, and work is a process to build a belief system.
Personal tasks that began by intervening with the body in the environment of a collective structure or system are stories of invisible surfaces felt through the skin. The skin is my chosen material and method, and just as the surface of the human body is made up of skin, the recent drum series also consists of animal skin. Our nature and traces of time are fully visible through the outer skin that surrounds the body. As Paul Valerie's saying, "The deepest part of a human being is the skin. (Cequ'ily a de plus propon de l'homme, c'est la peau)", I focus on the way of communicating with the world by 'skin'.
It acts as linking the dichotomous world, such as inside and outside, visible, and invisible, phenomenon and transcendence. As the quantum entanglement of "virtual = reality" is increasingly amplified due to the time of continuouse untact, segmentation of time and time, de-bodyization, and volatil communication are reborn as new communication methods. We may already be more used to fantasy than reality. Everything seems to be connected, but nothing is connected.
I have seen nowadays macro-changes due to digital methods and smart systems, and have focused on physical factors consideration of identity. And these are expressed through the using of sculptural works, performances, and media devices.
In particular, the sculpture series, which began with the motif of the drum, implies the performance possibility of the sculpture based on physical instruments and ancient communication and actual exists as a dynamic role in leading the performance (sound and movement). By expressing the traditional subject of drum filling in 'shaped canvas' techniques, it seeks to explore "the contemporary tradition of a new form" and to explore underlying communication through the physical surface of the work.
Communication, which begins with old tapping, becomes a conduit for connecting the world to the world, asking questions about the empty body caused by virtual systems, and recalling the possibility of a primitive body.
