yeonwoo 연우
B. 1966
When a continuous flow of time and space is photographed and visualised in one place, the chronological temporality of the image disappears and the causality of the narrative is lost. Also, the perspective that has supported two-dimensional art for more than 2,000 years is shattered, and even a single point in time is altered. In addition, the shapes of materials composed of lines and planes are disintegrated, and the memories of events are lost. At the result, the reflected image of reality exists in a state of chaos where the original geometry is disintegrated. Computing such a chaotic image is to synthesise and reinterpret the chaotic concept of time and space that exists as particles (pixels) that have been disintegrated. As M. Eliade argues, the breakdown of order and the return to chaotic time is an act of creating "new forms and meanings" in a chaotic situation through the "cycle of time". Just as the world was created from darkness in the beginning of time, the chaotic image of everything returned by the artist produces an image that is different from the replication and reproduction of the object. The image visualised by this process is a 'time image' that shows a cross-section of the world we live in, a world that is constantly changing from moment to moment. It is only through the puntum of the viewer that they are able to stare at, respond to, and create something out of the chaotic images, which are so fragmented in form and perception that even the artist's creative intentions are objectified. The meaning of the abstracted image in their consciousness is not just a reproduction of reality, but an extension of their own recreated perception. The development of visual mechanics has freed the visual arts from the limitations of descriptive reproduction. This forces us to think differently, which is what the new age demands. Since thought is based on form, the deconstruction of form frees thought, which in turn leads to the expansion of visual perception. Only when we have created our own ideological image, which has no original source, do we escape from Plato's cave.
yeonwoo 연우
B. 1966
When a continuous flow of time and space is photographed and visualised in one place, the chronological temporality of the image disappears and the causality of the narrative is lost. Also, the perspective that has supported two-dimensional art for more than 2,000 years is shattered, and even a single point in time is altered. In addition, the shapes of materials composed of lines and planes are disintegrated, and the memories of events are lost. At the result, the reflected image of reality exists in a state of chaos where the original geometry is disintegrated. Computing such a chaotic image is to synthesise and reinterpret the chaotic concept of time and space that exists as particles (pixels) that have been disintegrated. As M. Eliade argues, the breakdown of order and the return to chaotic time is an act of creating "new forms and meanings" in a chaotic situation through the "cycle of time". Just as the world was created from darkness in the beginning of time, the chaotic image of everything returned by the artist produces an image that is different from the replication and reproduction of the object. The image visualised by this process is a 'time image' that shows a cross-section of the world we live in, a world that is constantly changing from moment to moment. It is only through the puntum of the viewer that they are able to stare at, respond to, and create something out of the chaotic images, which are so fragmented in form and perception that even the artist's creative intentions are objectified. The meaning of the abstracted image in their consciousness is not just a reproduction of reality, but an extension of their own recreated perception. The development of visual mechanics has freed the visual arts from the limitations of descriptive reproduction. This forces us to think differently, which is what the new age demands. Since thought is based on form, the deconstruction of form frees thought, which in turn leads to the expansion of visual perception. Only when we have created our own ideological image, which has no original source, do we escape from Plato's cave.