Every perception of a spatial thing, which is usually called ‘external perception,’ can be deceptive although it is a direct grasp of the thing itself. It is a matter of common sense that experience is to be justified through further experience. Our continuous stream of external perceptions proceeds in the form of consistent correction. We perpetually and consciously have a unitary world, which lasts an infinite time, and extends through all space. But ultimately nothing can be purely and adequately perceived due to presumptuousness. And things are given in a horizon. Although we perceive the spatiotemporal thing as given itself, the existence of the being is always doubtful because of its transcendent mode of givenness. The transcendent thing can always be otherwise or it may not exist at all.
Somewhere between all the various significance and infinite variety of appearances, my brain wants to perceive and experience specific things. It refers to not only physical structures on sensory input, but also the endless movement toward my perspective.
esc(2015) is a video installation, consisting of two identical flat-monitors that are placed in a parallel position a few feet apart, facing upward. Both screens display an identical video footage of mesh floor panels of an escalator, moving in the same direction, and looping seamlessly. The viewer can walk around the installation freely, and observe two identical moving images in the middle of two screens. This video art piece focused onto an individual perspective towards transcendental being in a constant movement, also a metaphorical representation of human reduction in time. The looping video image is depicting the irony of subjective time-consciousness that is overcoming linearity and irreversibility of human mortality, just as the apparent movement is purely conceptional and allusive on the screens. However, the piece aimed to drive viewer’s inner perception to the boundaries of mind.