live-feed TV signal (antennas, tv tuners), CRT monitors, Computer, Speakers, Nettings

For my interactive installation ‘rendezvous’ (2015), I utilized a televised signal as an instantaneous real time transmission that has implications for the nature of vision and physical existence, also duality between the screen and spectator. This work used the motive of a square screen that is being used for television or panoramic projection to construct a mode of human interior. In order to imitate the structure of visual perception through one’s eyes, I expanded the depth of space through layering of light and used the life size translucent nettings in a rectangular shape, which easily absorb light. Through such process, I wanted to provide opportunity to look inside the self that has become more liberated from reality by setting an abstract space.

In a dark space without interior lightings, two identical setups — projector, TV, speaker, computer and suspended sheer curtain — were installed, facing each other at the center of the exhibition space. Each projectors aimed to project onto facing scrim curtains, one in front of each of the projectors, so that the shapes projected onto and through the first scrim, then more weakly onto and through the second, and finally — very slightly — on the walls behind and above the television sets and projectors. And the space between curtains becomes ambiguous from the collision of projection lights. A collected audiovisual data from live-feed television was being used for generating an oscillating projection — vibrating two squares, an upper and lower, in different speed and brightness based on a frame difference of TV signal — the speed of sequential movement.  Due to high-speed oscillation, each square appear to be duplicated to viewer’s eyes as if there are two squares being projected, also creating an interesting intersection between translucent squares. In addition, two CRT monitors display each different modulated live broadcast images, being processed live into a static and shadow-filled version of itself — a delayed appearance in black and white, which is also being triggered by the frame-difference based on a pixel analysis on each frames.

There is an audio component accompanied to each projection and monitor that almost sounds like a muted conversation or slowed down underwater speech. Standing between the two hanging translucent screens feels almost like stepping into the information stream before it can be perceived as a figure on television. The installation tries to delineate one’s perception to the reality, searching for a crossover in signals that constantly reveal and hide the gaps between spectator’s physical existence and mediated screens, also presenting a full environment for viewers to explore unseen processes around and inside of us.

The viewers can walk around the installation freely, and interact with the projection light and cast their shadows. Due to the fast-moving squares, the viewer’s shadow is also being oscillated. Additionally, due to the nature of scrim fabric, which appears to be opaque when reflected by the light, and transparent in shadows, the viewer on the other side of the curtain becomes visible when shadow from the opposite side of curtain overlaid each other. By experiencing the collision of shadows and the depth of visibility through the scrim curtains, the viewer can poetically approach to the nature of proximity to other existences in a digitally accelerated space.