video art


From my video installation work ‘disapparition (2015)’, I have investigated the end of genuine figures, the status of images can be concluded as an issue of spatiality and temporality within the similitude of brain perfusion pattern.

In order to effectively realize the subject in an incomplete state, video images were utilized through the accumulation of a certain amount of time. Because the subject in dissipation is being triggered by a minute stimulus, maintaining a state to be the most implicative is practically difficult to re-create. Therefore, live video-processing accomplished real-time abstractions out of images in a constant motion without a post-production stage on editing. The video contains abstract formation of constantly moving scenes in natural surroundings, such as reflected clouds in the water and a range of trees in the wind, which were digitally processed through a computer so the pixilated image shows only the motion inherent in the objects. My goal was to induce translation of the viewer’s consciousness to the cognitive fluctuations in brain activity by providing fragments of time in a constant movement, not stressing the affective empathy through the identification of complex formation.

Operation of the sensation makes a subject escape from the embodiment of perceptive characteristics and restores it to a figure. The unknown arrangement of fragmentation fills a screen and appears and disappears at the unknown sequence of time. Such figures in the screen get away from logical order of information and become to have a new order due to the delayed or fast moving figure. They exist before the essence, separate the subject’s narrative and move in chaos like a state of entropy to bring about another systematic order. This is a disorder but rather, it is not a logical arrangement of the expressed subject on the screen in a collision of figurative factors that are unrelated. Such collision can create relations and stratifications where sensation penetrates. As a result of this, the image of reality is distorted and transformed. The invisible image visualized, and a potential image is projected. Such potential of an image became the clue of the evolution of a visible image into virtuality. Moreover, the phenomena in which images become temporal and spatial is vitalized through fusion and exchange of various mediums in modern arts.

This video art piece utilized a video documentation of natural surrounding, the clouds in the sky or the surface of water, that is realistic and still on screen in order to eliminate its conscious factor in the process of viewer’s perception. I initiated breaking the image of video using video-processing software when the original video documentation is considered to have an abundant subjectivity (conscious-factor). In order to visualize the operation of sensation and floating forces, I decided not to ignore the subjective perception, which becomes the beginning point of the performance. The subject in the source video that is formed logically has low probability of sensational manifestation, and in order to find an insecure and collision between shapes and the high probability of the figuration of random stratification, each pixel on the screen was fragmentized and analyzed, which is constantly changing. The video processing amplifies each individual change of the pixel in black and white – fast changing pixel appears bright white, static or slowly changing pixel appears to have a low brightness. After the video processing, the original video is not a lake or a forest anymore but a screen with fixed possibility and restored to an abstracted form. The form restored due to the operation of sensation, should not stop and move around the screen steadily with the vibration of sensation involved.