In my multiple perspective palimpsests piece, I chose to combined minor key and major key elements to create a balance of joyousness and inviting reflections. The piece titled Palimpsests No. Infinity is meant to symbolize all of the palimpsests that cover the city with their hard or delicate elements to create an often unrecognized symphony that interest those who choose to observe. Palimpsests No. Infinity is made from glass, metallic print photographs, spray glue, shaved plastic, paper hole punches, acrylic paint and string lights. The lights represent the restlessness of a city that never sleeps. The light struggles to seep through the layers of the palimpsests which symbolizes the inner struggle of those who view the piece, each time walking by adding an emotional layer that will never be seen but will be felt by the viewer. Palimpsests No. Infinity is thoughtful and richly inspired by the palimpsests around New York that spark wonder for the viewer. Personally, the wonder is about what the original material is made of and who decided it would become acceptable to layer over that material, whether it be a graffiti artist, a contractor or the elements of mother nature. What draws your attention, is it the top layer of the palimpsest, the base for the existing layers, or the multiple layers combined to create a repository of memories; what do you wonder?
2016 Charcoal, gesso, and pencil on collage 11 x 17 inches (Tabloid size)
These past few months in New York City away from home have been overwhelming for me to say the least. I had to juggle the frustration on trying to figure out the subway system here, budgeting to make sure i have the basic necessities i needed to live here as well as get art materials to complete assignments, while trying to ignore the freedom of junk food due to the fact that nobody is here to watch over me by eating healthier and to limit myself from online shopping. The palimpsest in my work is evidently demonstrated through the layers of papers that represents all these feelings and experience i have had in New York that acts as the background of my piece. My decision to do this was influenced mainly by one of the pictures i took when i was assigned to stroll around this specific location to find inspiration for this assignment. It was a picture of a wall with many different posters stuck to it. There were old posters that left marks of its existence that it was once there and also newer posters that replaced and on top of those marks. In addition to that, i wanted to incorporate something else that will emphasize the idea of palimpsest in my artwork. For me, graffitis are forms of palimpsests. Someone might start with one idea but someone will add something to it and sometimes overlap on top of an already existing work. For this reason i wanted to create my version of a graffiti using charcoal to create a person expressing the feeling of frustration. I used charcoal mainly because i was going for the messy look and also because it would go well with the different colored papers i used for the background. I also used gesso at the end to create the overall feeling that i wanted the piece to have. I felt that the different papers and charcoal drawing were not completely interacting and unified. Not only did it put all the different elements of the piece together, it also to me represented the act of tearing layers of posters down and replacing them with new ones.
2016 Transparent paper, plastic holder, oil based pens 8.27 x 5.83 inches
I decided to depict layers of New York, using architecture from three time periods. The first and the bottom one is 19th-century architecture. It is made using black color, representing a stable structure and a solid base. It is a starting point for skyscrapers in the future. The second and middle layer represent architecture from the 20th-century. Buildings are drawn using gold color, which represents the golden time for architecture with innovations which are iconic now, like Chrysler Building and the Empire State Building. The color also echoes the beige color of the buildings made at that period. The third and the top layer represents the 21st-century and is completed with silver color. It is most contained from tall skyscrapers. Silver color echoes the materials like mirror glass, steel, and concrete which are used in modern constructions. I created the artwork transparent because the layers interfere with each other, like in real life. Those are not three different layers, they are not supposed to be isolated, they should stay together, and create a portrait of New York City.
Layers of a Place a photo opportunity a landmark a stage a place to sell art a place to show art a source for income a source for food home a political platform a social space a place to take a break a place to walk my dog don’t go there after dark don’t walk through alone where I eat lunch an open space a safe space a space to organize a space to occupy …………… A park has many different meanings to the people who experience it. It holds on to the memories and moments lived there, while opening up opportunities for change. It is a place shared by the masses of people that experience the environment everyday, some as their home and others just for a second. In “Layers of a Place”,photogrpahy, printmaking, and drawing are combined to visually depict the ever-changing scene of Tompkins Square. This specific site, located in the Lower East Side, is rich with history and has changed dramatically from where it once was to now. As the physical and social dynamics of the park shift, traces of the past remain anchored.
Digital Photographs on Inkjet paper, Leica M9 12×18 each
I have a fascination with strangers, people watching and things generally overlooked by most people during everyday life. Every person on this earth is living a life that is equally as vivid and complex as my own and I want to show that through my photographs. With every photograph I take I want to tell a vivid story to the viewer. Though most of the time I like to keep my photos very ambiguous, with I Remember NYC I wanted to provide more context to each photo. Alone, the photographs convey their own narrative articulated by composition, light, and the subject. With the addition of the captions, the photographs work to articulate not only their own narrative, but also the experience of taking the photograph allowing for a greater sense of empathy between the viewer and my work. Photography is what keeps me sane and with this piece I want to convey the emotion that is attached to these images but is not generally conveyed by the photographs alone.
These artworks are part of a project with a stylized and artistic twist, composed of graphic design attributes and photographic imagery. The visual themes revolve around the city’s metro possibilities and the pedestrian perspective of the city.
a memorial for the future video (which is the main piece):2016, film, 1920 x 1080.
My project, titled A Memorial For the Future , is a memorial based video that serves the purpose of honoring the people who have participated in the worldwide protests the day of Trump’s presidential election. The outcome of our president-elect sparked outrage amongst millions of people, resulting in the partaking of the protests. I wanted to highlight and memorialize the unity of the people who stood for what was right, just like the people who took part in the Occupy Wall Street protests and the Ferguson protests. Although this is not your conventional memorial, I want people to understand that our generation is incredibly quick to react to controversial events. We will be remembered for our unity against racism, sexism, hate, and bigotry — everything that Donald Trump and his supporters promote. Getting this video to the final piece took an incredible amount of time. At first, I didn’t have any idea about what to do. My initial idea was far off from actually making a video and taking pictures. Instead, I was going to make a memorial honoring the artist, Keith Haring. Realizing that I am not well versed in making things with my hand other than taking pictures in them, I decided to not even go through with it at all. I just waited for something to pop up in my head. The night of the presidential election came along. After waiting a painstakingly long night to see who would become the 45th president of the United States, Trump had won. I realized that this was a huge turning point for the future of our country, and millions of people would be outraged that he had won the presidency. The day after, protest after protests had taken place. I decided to wake up, and take the risk to go film them myself. I had no help in doing so, and I would rather it be that way. After nearly getting arrested, I came home and thought, “How could I possibly turn this into a memorial that could be notable?” I did not this to be a conventional memorial. I wanted to challenge that idea of what it means to remember something. Something visual and auditory, not tangible. So, I instead came up with the idea of creating a memorial for the future — something that our sons and daughters will remember us by. The idea remained central — capture the human body in unison with others. I chose the song “The Drop” by The Haxan Cloak (Bobby Krlic), as part of my video because it represented the influx of emotions that soon encompassed my body when I kept coming to the realization that Donald Trump has become our 45th president. Surely, no one expected this, and neither did I. Bobby has an incredibly knack for producing extremely unsettling drone music, and this song a bit of a deviation from his usual works of music. “The Drop”, while eerie at times, has an underlying sense of hope that instills a gratifying , which is what I wanted to convey. We are all devastated by this unexpected outcome of the presidential election. This video was created with the intent of instilling hope in people in the present, but also in the future. We are the reason why change exists, and I want the future generation to see this as an ode to them. I think of it as something that is kept in a I hope that they will continue the political revolution that was started only so long ago.
I am caught in the present of my father’s past.
This photograph of my father as a child is foreign yet familiar in character; He sports his usual frown yet his playful attire is unexpected and stirs a curiosity that inspires me to investigate this persona. I want to unravel the compelling qualities of this photograph but I feel distant from it.
My father’s childhood not only feels physically distant in the scope of time, but also emotionally distant from my lack of knowledge and exploration. The intimate relationship I have with my father prompts me to delve into his childhood, using this photograph that was taken in September 1966, South Korea, as a gateway. My father was four years old when he took this picture – a moment too early for him to recall. This part of his youth remains mysterious even to him. The photograph seems simultaneously distant yet close and there is a compulsion that I cannot decipher. In an attempt to adapt this persona and recreate the un-recreatable, intangible past, I constructed the shirt worn by my father in 1966.
Seeing my father as a child, a child from a rural city in Korea, and seeing my father today as an intelligent, honest and respected diplomat traveling the globe, summons an eruption of sentiments: Pride, gratitude, respect, adoration.
Part of the foreign quality that I feel from the photograph stems from the innocence seen in the child; A child who has not experienced the world yet, who will soon be hard working and dedicated in studying to be where he is today.
It also produces sentiments for my country. I sense a pride for Korea – one that is similar to what I feel for my father – for slowly healing itself from the scars of the Korean War, for the socioeconomic progress it made until today.
It is these sentiments and development seen in both my father’s character and Korea that draws me close to the seemingly distant past. However, there is still a greater distance that needs to be reduced. In order to unravel the mysterious of the past, I obsessively documented my efforts to replicate this shirt and held psychoanalytic interviews with my father. By exploring my father’s childhood in Korea here in New York, I formed a relationship with the past. I had to weave through a variety of resources and services provided by the city to produce the shirt that is the token of his childhood. I encountered several technical problems and mistakes including issues with printing on fabric but nevertheless pursued the past. I engaged my university, where I stayed for hours to create the garment, New York, Korea, and Laos, which is where my father is currently living. A great deal was revealed to me about his childhood via the interviews, such as the context of the peaceful rural city, the anecdotes of my uncle stealing fish from the local vendor or how my father enjoyed studying. There were also disappointing interview outcomes but these in the end served to reveal my father’s current persona. For example, when asked about his intimate past, my father responded in a diplomatic manner that centered around Korea and his parent’s lives – almost as if to avoid giving away personal information. I formed a narrative upon these interviews applying experimental approaches such as speaking in Korean versus in English and asking about his surroundings rather than himself.
Through this assembled narrative and the garment that contains a retrospective aura, I discovered the impenetrable past.
We have evolved and harnessed some of the physical laws of the universe, to create technology. The non-material & non-superfluous, is ever getting lost, in this race of satiating the senses. While we go further in terms of our technological prowess, the scales are being balanced at the cost of something else. If there was a supreme being who can see all of creation, what would it be watching? What can it see it if space & time are at it’s fingertips? Will it see us as dots running around with a cluster of information around it in terms of cell phone signals, radio waves, wifi signals? Will it see what drives our actions through our actions? Where do our actions originate, within our own innately human parts or is it the result of a giant interplay between humanity, technology & the rest of the elements involved? The digital art piece allows the viewer to take the place of this supreme being’s point of view, adjusted, of course, to human capabilities. The viewer sees a visualization of the number of humans in the world and the information being exchanged among the & the emerging patterns in all their order & chaos.