Moving Movements: Yeseung Lee
The installment by Yeseung Lee is made up of one large circular screen and many smaller, segmented circular screens. The circular theatre structure serves both as a vessel for a different story in each exhibition and as a trigger for the viewer’s curiosity.
The interactive elements Lee has consistently explored are more prominently emphasised in this exhibition. A circular screen positioned on one side of the gallery displays images of various objects alongside silhouettes of visitors. These images are then transmitted to a large circular screen at the centre of the space, where they form new images. The afterimages of viewers and the shadows of objects produce layered visuals, while light and sound continuously evolve. This ongoing process, driven by the interaction between moving screens and the visitors’ actions, gives the space a constant sense of life. The shadows on the screens carry varied tones and colours formed by the crossing of light and darkness, inviting the viewer’s imagination.
Through the uneasy combination of images where the virtual and the physical converge, the artist presents a state of disarray in which real images of objects and viewers mix with imagined shadows. This exhibition, created through the interplay of dynamic screens, lingering images of objects, and the visitors’ actions, encourages viewers to experience a space that oscillates between the virtual and the imagined.
Artist’s Note
Architectural space is designed and divided by human intention and purpose. My work begins with interpreting architectural space. What I feel through my five senses within a space becomes the work itself.
When I first encountered Gallery Chosun, it felt as if I were passing down a long staircase and entering my inner self. Descending the narrow, dark stairs, I arrived at a cold space defined only by four long, thick, columns. It felt like a temple. This sense of a temple brought to mind Jorge Luis Borges’s short story 『The Circular Ruins』. The quiet space, like an abandoned temple? As I looked up at the high, deep ceiling and the long white columns, I felt an unfamiliar sensation, as if I were inside the folds of a woman’s skirt.
This work develops from these varied interpretations of space. The space I consider is not simply a site for installation, but a place for metaphor.
The attempt to sense, through multiple senses, images that are secretive yet possibly empty may itself be a kind of fiction. Still, it is toward such images that we move.