For installation, this video is designed to have a lower volume level, the audience cannot hear anything without a headphone or sound amplifier.(no subtitle)
drafted (2014) is a multimedia video and audio piece that one person at a time can listen to and watch with headphones. The video is based on a time-based documentation of mundane surroundings in a Buffalo suburb. The audio is consisted of multiple radio frequencies, which skip and rotate through static, giving snippets of conversations, songs and commercials from a wide variety of stations, while a still-shot video of different locations slowly transitions from one place to the next. During my exploration of this region, I have collected radio receptions in random access stations by using a sound recorder in multiple locations, also taking videos at the same time. Beginning with a radio tower, the video presents mundane places that may not attract notice like a close-up field, a distant road and the sky, power lines, trees and a natural gas well. Throughout my exploration in this specific region, I experienced an interesting aspect of human perception to inaudible appearances in different locations. When I was switching and listening to randomly selected radio receptions, I often perceived individual contents as if they are connected as a whole; advertisements, news, musical lyrics in a continuous narrative. Without a pattern or purposeful narrative, the piece pulls and tugs the viewer’s brain to shape the audio experience, while resisting simple understanding. Unlike a literary cut-up or a collage, this piece focuses its gaze inward, on the way the viewer’s mind handles the experience. This uncanny sensation is consistently shifting the notion of spatial awareness over time-consciousness into a temporal space.
This work holds frame before reaching a subject – political and aesthetic narratives – and I wanted to make it a subjective image itself. During the process of recording the photographic images, my consciousness had to be repressed at the most, in order to resist against the force that tries to return the subject to its original figure. Before positioning the transmission tower, reed field and street lamp used to reflect the subject, the content of the radio transmission sound was recorded every time. Within this frame, I expected the previously situated events to separate and tangle themselves, then create something other than the subject at the beginning. In addition, by maintaining logical connection point according to appropriate photographic composition and radio broadcast, I recorded the video and sound from the same place many times so that the subjectivity is not too extreme or lacking. However, accidental incident occurred during the editing process. I started to position different videos and sounds that are not from the original place. For example, musical broadcasts that can be listened to when driving was placed to the scene of the highway where cars endlessly pass by, also political messages or counseling broadcasts to the scene of the transmission towers. Eventually, my performance that was aimed to possess moment preceded by the performance, the previously recorded things were subsumed to some point and put away to some point. There is no performer or subject in this performance, but the entanglement of sensation and the interference(of myself), as well as floating possibilities in chaos. This experience was something that escaped from the conventional documentation of a photographic image as I stated before, and was able to form ‘reality that only my art can realize’. I think such process of performance liberates the subject from something local and creates system of momentary formation that repeats infinitely.