LIGHT EXISTENCE SHADOW
Light Existence Shadow
Shadow is proof of existence
Research on 'Recording'
One of the interesting habits of human beings living in a three-dimensional world is that we record things on a two-dimensional plane. Diary entries, poems, business contracts, and paintings are examples of humans recording the world in a two-dimensional way. Although the formats differ, they are all activities of expressing the world on a plane. Artists in the past served their world on a plane in their unique methods. The beginning of Impressionism was the invention of paint tubes. With the convenience of transporting painting tools, many artists started to go outside to paint. Monet also went outside with paint tubes and an easel in both his hands. He captured the view he faced on a canvas. The artist put effort into reenacting the color of light changing in the process of the Sun rising and setting on the canvas. As a result, he came out with his unique style. Monet's paintings metaphorically depict the era he lived. Like this, a painting has an artist's unique method of recording that understands the change and flow of one's age. By researching these different ways of documenting the world, Chanbyul established her unique way of recording how she interprets the world.
The Way of Recording
the World: Shadow
Shadow appears through an interaction of light and an object. Light, as an immaterial substance, makes all other matters come into view. The shadow exists in all things that have mass, from the level of elephants to molecules. The Sun, the definitive light source on Earth, gifts one shadow to one object. Before the invention of artificial light sources, the shadow was the only thing that all the matters on Earth could equally take. After the creation, however, we easily face numerous lights and shadows that emerge from them. An object takes several shadows from lights coming from different directions. However, being used to this era, we need to pay attention to this fact. Shadow often seems like a trifle, and it has become natural to have it day and night. When the Sun was the only light source in the past, shadow existed in the daytime as evidence of the Sun, and humans even materialized invisible time. The cloned shadows from the cloned Sun live in the middle of the night. The shadows are not an exclusive property of midday anymore. Several shadows clearly and directly demonstrate the contrasting present to the past, and hence, are considered a typical symbol of the world we live in now.
Multiple Shadows Object
For the artist, a shadow is a two-dimensional record that is depicted from an interaction between a three-dimensional object and light. Recording a shadow on a plane and transforming it into a three-dimensional object is an effort to reenact the cycle of the dimensions. Leaving one side of the object flat implies that its original form is from the two-dimensional record.
Impressionism Object
Einstein's Theory of Relativity adds time of four-dimension to the traditional cognition of the three-dimensional world. Being influenced by Impressionism, her work includes the idea of time. I use candles instead of artificial lights to portray four-dimensional spacetime in her work. As time goes by, a candle burns down to become shorter and shorter, lengthening its own shadow sitting beside it. All these interactions are the orbit of time made by light and objects. The shadow is recorded on a plane every hour until a candle burns up and is transformed into a three-dimensional object. As a result, this object embraces the order of nature.
As time goes by, a candle burns down to become shorter and shorter, lengthening its own shadow sitting beside it. I view it as a track of time made by light and the object. The produced drawings catch all the traces around it. As a result, this series of paintings and ceramics reflect a rule of nature.
Shadow can be a decent way to understand the world.
Shadow appears from the interaction between light and existence. Generally, light is necessary to recognize existence. Therefore, light, shadow, and existence are inseparable sets, and the shadow becomes evidence of existence. As an artist, the shadow can be a tool to understand an object's relationship with other concepts. Through the work, the audience could open a new perspective by facing shadows on a desk, in a kitchen, in every moment.
LIGHT EXISTENCE SHADOW
01. Shadow painting
LIGHT EXISTENCE SHADOW
Shadow object
LIGHT EXISTENCE SHADOW
Merged Shadow
이 작품은 주어진 공간에 사물을 함께 배치할 때 개별 사물의 그림자가 합쳐져 하나의 그림자를 형성하는 현상을 표현한 것이다. 고유한 위치, 고도 및 물리적 특성에도 불구하고 이러한 물체의 그림자는 함께 혼합되어 통일된 전체의 이미지를 생성한다.
사물은 동떨어져 있을때는 자신만의 그림자를 갖지만, 책상, 세면대, 주방과 같이 사물이 밀집되어 있는 공간에서는 한 덩어리의 그림자가 된다. 사물들은 제각기 다른 위치와 높낮이, 그리고 전혀 다른 물성을 가지지만 그림자 속 사물들은 마치 모든것들이 하나로 통합된 것처럼 보인다. 작가는 이러한 그림자의 성질을 이용해 여러개의 사물들이 그려내는 하나의 그림자를 기록하고, 그것을 3차원으로 치환했다.
또한 이 작품은 우리 주변 세계의 상호 연결성을 일깨워주는 역할을 한다. 모든 차이에도 불구하고, 우리 모두는 함께 어우러져 우리 자신보다 더 큰 것을 창조하는 타고난 능력을 가지고 있다. 그것은 화합의 힘과 다양성의 힘을 보여준다. 작품은 통일성과 다양성에서 찾을 수 있는 아름다움을 강력하게 상기시키는 역할을 한다.
또한 이 작품은 우리 주변 세계의 상호 연결성을 일깨워주는 역할을 한다. 모든 차이에도 불구하고, 우리 모두는 함께 어우러져 우리 자신보다 더 큰 것을 창조하는 타고난 능력을 가지고 있다. 그것은 화합의 힘과 다양성의 힘을 보여준다. 작품은 통일성과 다양성에서 찾을 수 있는 아름다움을 강력하게 상기시키는 역할을 한다.
SKETCHBOOK
SHADOW WITH TIME
Night in the midday
SHADOW WITH TIME
Blooming and Withering Flower
The difference between a painting and a text is that the painting stands still in a place. Both the painting and the text are created within times, but the painting seems stationary. The viewers sometimes feel paintings come to life, but for most of the audiences, the paintings are just a stationary object. Dragging countless hours, a painting gets completed and becomes a stationary object. Would not this be a reason for a lot of contemporary people finding paintings complicated?
Ever since being in the field of Arts, the most frequently asked question from others in South Korea was, “what do you feel when you look at paintings?”. When we learn about paintings, we often hear that we have to understand the artist’s perspective and views towards the world. However, how can we understand something from paintings when they do not speak? this is really complicated. On the other hand, a novel is not a big deal to be read through boring prints on a two-dimensional plane. What would be the reason for paintings that they are relatively difficult compare to novels?
A writer expresses his or her perspectives and points of view in a novel through many ways. There are several factors that support the writer’s thoughts such as a character of a protagonist, relationships between characters, a narrator, background, events, narrative styles and etc. The audience can dive into the writer’s set-up and fully understand the story by enjoy reading all the factors. This is not a difficult thing to do, as only a tiny bit of effort and time of reading the listed characters are required.
So, a novel narrates with a descriptive voice about situations, emotions and events that change through a plot of a story, whereas a painting never let you know easily. This is also the reason for famous paintings earnig their fame – the narrative of them become even more intimate after repeatably shown in educational institutions and in news.
The painting that is just standing still without saying anything is deficient to stop and hold busy modern people for a while. Hence, I would like to give a narrative to the painting. Perhaps it is a matter of course that humans living in times feel a sense of closeness with things in time, like different impressions we have in between stationary objects and alive animals or growing and withering plants that might seem stationary.
Then how would it be to capture the artist’s time and alive time on a stationary plane? The series of paintings <Blooming and Withering Flower> depict the thoughts above.
Blooming and Withering tulips 01
114x104cm
Watercolor
2022
Record
2022.05.01
2022.05.03
2022.05.07
2022.05.10
2022.05.13
<Blooming and Withering Flower>
What sets modern sources of light apart from their predecessors, such as the sun or a candle, is that they do not move nor change with time.
Despite the evident benefits of light bulbs, what I cannot find in them are signs of vitality. In mother nature, the vitality comes from the fact that they change over time. Each carries traces of time, which makes them seem alive. However, such a trait is not present in artificial sources of light. They do not seem to interact with time.
Similarly, shadows born at night are fixed, unlike those continuously changing their shapes and directions under daylight on the streets or the walls.
By recording shadows of blooming and withering flowers, I strive to capture the concept of time, which flows like a river on us and the universe, on a two-dimensional plane. Also, only artificial light sources were used to shed shadows on and record the flowers' changes over time. Contrast exists between the human-created way of life, represented by light bulbs, and how nature abides by time, shown by the flowers' movements. By bringing this contrast to a single scene, I seek to integrate and understand these two different natures of life existing in a single world.
Blooming and Withering tulips 02
114x85cm
Shadow on paper with watercolor
2022
Shadow on paper with watercolor
Record
2022.05.03
2022.05.07
2022.05.10
2022.05.13
Withering peony 01
100x140cm
Shadow on paper with watercolor2022
100x140cm
Shadow on paper with watercolor
Record
2022.05.27
2022.05.28
2022.05.29
2022.05.30
2022.06.01
2022.06.03
Withering tulips 02
70x100cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
Blooming and withering peony 01
56x76cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
Withering tulips 01
56x76cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
LIGHTS AND SHADOWS
Plant
Withered Tulips and one light
100x140cm
Shadow on paper with watercolor
2022
100x140cm
Shadow on paper with watercolor
2022
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Withered Tulips and two lights
100x140cm
Shadow on paper with watercolor
2022
Withered Tulips and two lights
100x140cm
Shadow on paper with watercolor
2022
A branch of Christmas tree(Korean-Fir) and one light
70x100cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
A branch of Christmas tree(Korean-Fir) and two lights
70x100cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
Three flowers and one light
56x76cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
One flower and three lights
56x76cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
Common gypsophila/
one, two and three lights
56x76/56x76/56x76cm
Shadow on paper with atercolor
2021
Branches/one, two and three lights
56x76/56x76/56x76cm
Shadow on paper with watercolor
2021
A plant and five lights
56x76cm
Shadow on paper with watercolor2021
Shadow on paper with watercolor
A plant and eight lights
56x76cmShadow on paper with watercolor2021
Shadow on paper with watercolor
A Sunflower and four light
56x76cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
A withered Gerbera and five lights
56x76cmShadow on paper with watercolor2022
Shadow on paper with watercolor
A rose and four lights
76x56cmShadow on paper with watercolor2022
Shadow on paper with watercolor
A bunch of flowers and one light 01
76x56cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
A bunch of flowers and one light
Series Blue
Series Blue
100x140cm
Shadow on paper with watercolor
2023
Shadow on paper with watercolor
2023
2023
Flowers and two lights
100x140cm
Shadow on paper with watercolor2022
100x140cm
Shadow on paper with watercolor
Plants and one light
80x100cm
Shadow on paper with watercolor2022
80x100cm
Shadow on paper with watercolor
A bunch of flowers and one light
Sereis Yellow 01
88x140cm
Shadow on paper with watercolor2023
Sereis Yellow 01
88x140cm
Shadow on paper with watercolor
A bunch of flowers and one light
Sereis Yellow 02
100x140cm
Shadow on paper with watercolor2023
Sereis Yellow 02
100x140cm
Shadow on paper with watercolor
Flowers and one light 01
56x76cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
A bunch of flowers and one light 05
56x76cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
One flower and four lights
56x76cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
A red berry spray and three lights
56x76cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
Common gypsophila and three lights
70x40cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
Flowers and four lights
114x70cm
Shadow on paper with watercolor2022
Shadow on paper with watercolor
A bunch of flowers and one light 06
140x140cm
Shadow on paper with watercolor
2022
140x140cm
Shadow on paper with watercolor
2022
Common gypsophila and two lights
100x113cm
Shadow on paper with watercolor2022
100x113cm
Shadow on paper with watercolor
LIGHT AND SHADOWS
Object
Clock hands /ver.1
100x140cm
Shadow on paper with watercolor
2021
100x140cm
Shadow on paper with watercolor
2021
Since shadows emerge from the interaction between light and things, they are evidence of something being material not just abstract. Chanbyul use a shadow as a tool through which to understand the relationships that humans form with different concepts and objects.
Light is an immaterial matter that reveals all other substances. Where there is light, everything with mass, from elephants to molecules, has a shadow. In a universe where light is natural, shadows are evidence of existence. In the past, there was the only one light source, the sun. It means that there was only one shadow. These days, however, human has invented artificial light sources, the light bulbs. Shadows arise according to the number of light sources. One light has one shadow, and two light sources have two shadows. Now we can see tons of artificial light sources and tons of shadows anytime, anywhere. This is the shape of the present era that is completely different from the past.
In addition, the shadow is proof that 'I' exists in the present moment as an observer. Recording a shadow is possible only when an object blocks the light and creates darkness. Chanbyul records this moment as both observer and recorder. Chanbyul hopes to deliver the idea that shadows can thus be tools through which to understand the relationships that humans form with different concepts and objects.
It means that facing the shadows represent facing the present. The shadow is a great tool for facing the world we live in Chanbyul paints with objects that can be seen in daily life and common shadows. This is to convey the idea that we can easily get new reflections on the world anytime, anywhere in our daily life.
Clock hands /ver.4
56x76cm
Shadow on paper with watercolor
2022
Clock hands /ver.3
56x76cm
Shadow on paper with watercolor
2022
A chair and one light 1
70x100cm
Shadow on paper with watercolor
2021
A chair and one light 2
70x100cm
Shadow on paper with watercolor
2021
A chair and one light 3
70x100cm
Shadow on paper with watercolor
2021
OSTEN BIENNIAL awarded work
OSTEN Collection
OSTEN Collection
One line and eleven lights
100x140cm
Shadow on paper with watercolor
2021
One line and six lights
100x140cm
Shadow on paper with watercolor
2021
One thread and nine lights
70x100cm
Shadow on paper with watercolor
2021
Shadow on paper with watercolor
2021
2021
One thread and six lights (ver2)
70x100cm
Shadow on paper with watercolor
2021
Shadow on paper with watercolor
2021
2021
An extension cord and six lights 02
100x140cm
Shadow on paper with watercolor
2021
An extension cord and six lights 01
100x140cm
Shadow on paper with watercolor
2021
Sauce cup, Milk cup, Vinegar container, Pot, Cup and six lights
100x140cm
Shadow on paper with watercolor
2021
Pepper shaker, Candle holder, Alarm clock, Milk cup, Soap dispenser and seven lights
100x140cm
Shadow on paper with watercolor
2021
An eyelash curler and six lights
75x65cm
A pair of glasses and six lights
76x56cm
A pair of scissors and nine lights
76x56cm
A key and ten lights
76x56cm
A key and eight lights
76x56cm
A coffee grinder and seven lights
76x56cm
A wine opener and seven lights
76x56cm
AirPods and ten lights
76x56cm
AirPods and ten lights
76x56cm
76x56cm
A Fork and eleven lights
76x56cm
A Cup and twelve lights
76x56cm
Stand shadows
112x76cm
Shadow clock flower Ver.1
76x56cm
76x56cm
A clock hand and seventeen lights
50x40cm
A clock hand and twelve lights
50x40cm
A candle holder and five lights
112x76cm
A stand lamp and five lights
112x76cm
NIGHT IN THE MIDDAY
한낮의 밤
<작가노트>
참을 수 없는 존재의 가벼움 첫 페이지에 이런 말이 있다. 인생이란 한번 사라지면 두 번 다시 돌아오지 않기 때문에 한낱 그림자 같은 것이라고. 글쎄. 그림자는 한낱이라는 단어로 표현되기에는 좀.. 절대적이다. 태양을 떠나는 순간부터 그것은 몇 광년을 달려 당신에게로 왔다. 무중력의 우주를 건너 외로운 별들의 시체를 지나 당신 집 창가에, 벽에 내려앉았다. 그것은 아주 고요하지만 강력하게 당신의 존재를 말해주고 있다.
지구의 절대 광원인 태양은 하나의 물체에 하나의 그림자를 선물한다. 자연의 그림자는 태양의 순환을 따라 생겨나고 사라지기를 반복한다. 어둠이 찾아올 무렵 그림자는 태양이 지는 자리 반대편으로 길게 몸을 끌어당겨 뉘엿뉘엿 지평선을 넘는다. 아침이 오면 그것은 태양의 가호 아래 다시 우리의 곁으로 돌아온다. 인공 광원이 발명되기 이전까지, 그림자는 지구상의 모든 것들이 유일하게 공평하게 가질 수 있는 것이었다.
참을 수 없는 존재의 가벼움 첫 페이지에 이런 말이 있다. 인생이란 한번 사라지면 두 번 다시 돌아오지 않기 때문에 한낱 그림자 같은 것이라고. 글쎄. 그림자는 한낱이라는 단어로 표현되기에는 좀.. 절대적이다. 태양을 떠나는 순간부터 그것은 몇 광년을 달려 당신에게로 왔다. 무중력의 우주를 건너 외로운 별들의 시체를 지나 당신 집 창가에, 벽에 내려앉았다. 그것은 아주 고요하지만 강력하게 당신의 존재를 말해주고 있다.
지구의 절대 광원인 태양은 하나의 물체에 하나의 그림자를 선물한다. 자연의 그림자는 태양의 순환을 따라 생겨나고 사라지기를 반복한다. 어둠이 찾아올 무렵 그림자는 태양이 지는 자리 반대편으로 길게 몸을 끌어당겨 뉘엿뉘엿 지평선을 넘는다. 아침이 오면 그것은 태양의 가호 아래 다시 우리의 곁으로 돌아온다. 인공 광원이 발명되기 이전까지, 그림자는 지구상의 모든 것들이 유일하게 공평하게 가질 수 있는 것이었다.
과학적으로 그림자는 사물이 빛을 가로막아 생기는 검은 영역이다. 인간이 밤이라고 부르는 것도 사실은 검은 그 영역이다. 태양이 지구 반대편으로 제 몸을 옮기면 그 자리에 어둠이 드리운다. 우리가 밤이라고 부르는 것은 사실 지구라는 행성이 제 몸에 가지는 self cast shadow이다.
이러한 맥락에서, 우리는 언제 어디서든 밤을 마주할 수 있다. 정오의 태양 아래 드리우는 사물들의 그림자. 모든 그림자는 한낮의 작은 밤이다. 낮과 밤. 밝음과 어둠. 빛과 그림자. 그 모든 것은 서로가 서로에 의해 존재한다. 자연스러운 우주 속에서 서로가 서로의 존재의 원인이자 증거가 되어준다.
작가에게 그림자를 기록하는 행위는 세상의 이치를 평면에 담는 일 이다. 과거의 화가, 소설가, 시인들은 모두 저마다의 방법으로 세상을 평면에 담았다. 인상주의, 모더니즘과 같은 사조들은 그 증거이다.그림자는 작가가 자신의 세상을 평면에 담는 방법이다.
객체의 그림자를 기록하며 작가는 그 순간 그림자를 그리는 대상 존재의 관찰자이자 목격자가된다. 관찰자의 역할을 자처한 작가에 의해 존재를 증명받는다. 끊임없이 변화하는 해의 그림자를 기록하며, 작가는 우주속에서 그것과 동등한 존재가 되어 함께 살아숨쉬는 ‘지금’을 감각한다. 작가의 손에 의해 기록된 객체의 그림자는 그것이 그날, 그때 그 자리에 존재했다는 하나의 증거물이 된다.
이러한 맥락에서, 우리는 언제 어디서든 밤을 마주할 수 있다. 정오의 태양 아래 드리우는 사물들의 그림자. 모든 그림자는 한낮의 작은 밤이다. 낮과 밤. 밝음과 어둠. 빛과 그림자. 그 모든 것은 서로가 서로에 의해 존재한다. 자연스러운 우주 속에서 서로가 서로의 존재의 원인이자 증거가 되어준다.
작가에게 그림자를 기록하는 행위는 세상의 이치를 평면에 담는 일 이다. 과거의 화가, 소설가, 시인들은 모두 저마다의 방법으로 세상을 평면에 담았다. 인상주의, 모더니즘과 같은 사조들은 그 증거이다.그림자는 작가가 자신의 세상을 평면에 담는 방법이다.
객체의 그림자를 기록하며 작가는 그 순간 그림자를 그리는 대상 존재의 관찰자이자 목격자가된다. 관찰자의 역할을 자처한 작가에 의해 존재를 증명받는다. 끊임없이 변화하는 해의 그림자를 기록하며, 작가는 우주속에서 그것과 동등한 존재가 되어 함께 살아숨쉬는 ‘지금’을 감각한다. 작가의 손에 의해 기록된 객체의 그림자는 그것이 그날, 그때 그 자리에 존재했다는 하나의 증거물이 된다.
Night in the midday
The Shadow of The Goalpost
20 May, 2023
Eindhoven, Netherlands
Night in the midday
Blue bicycle
20 May, 2023
Eindhoven, Netherlands
>
Night in the midday
painting no.1
2:30pm May13, 2023
Utrecht, Netherlands
Night in the midday
painting no.2
3:20pm May13, 2023
Utrecht, Netherlands
Night in the midday
painting no.3
4pm May13, 2023
Utrecht, Netherlands
Night in the midday
painting no.4
4:20pm May13, 2023
Utrecht, Netherlands
Night in the midday
painting no.5
5:00pm May13, 2023
Utrecht, Netherlands
SHADOW NOVEL
01. The myth of a Clock flower
SHADOW NOVEL
02. A village with six suns
SHADOW NOVEL
03. A gardener
SHADOW NOVEL
00. Garden of time
INSTALLATION
Garden of time
INSTALLATION
Garden of shadow
Exhibition in Priveekollektie Contemporary Art |Design gallery 2022
NATURE OF TIME
Candle painting
Chanbyul Park (b. 1994) is a South Korean artist who lives and works in Eindhoven. She holds a degree in Industrial Design from Ewha Womans University in Seoul and is currently studying for a degree in Contextual Design at the Eindhoven Design Academy. Chanbyul is an artist-designer who develops her perspective on the world through research of objects and the rules of nature to understand what surrounds us and develop better awareness. Her source of inspiration is the Impressionists and Cubists whose modes of reading the world she studies, establishing her contemporary interpretation: "I paint, create objects and draw visual novels to express my ideas. I believe that understanding this world we live in leads to a better understanding of ourselves."
Park's research aims to record the order of the world in her works, paying particular attention to the theme of time that has an invisible character but that at the same time is perceived by humanity. Impressionism Object is the name given to the entire series in which she uses candles as a material to record time – the title refers to the Impressionist approach with particular attention paid to the passage of time. Nature of Time is part of this vast series, composed of drawings, sculptures and design objects: "This painting is a trace drawn by drops of a candle. The shape varies and never repeats itself because of many natural phenomena such as the time it takes the wax to flow and solidify or the direction in which the wind blows, the position, the temperature and the humidity". This work is the visual documentation of the natural order of nine loose candles deeply influenced by external conditions and time.
Text by curator Laura Pieri
Cd
Nature of time 01
Candle on watercolor paper
2021
Candle on watercolor paper
2021
Nature of time 02
Candle on watercolor paper
2021
Candle on watercolor paper
2021
3hour 10minute
7hour 12minute
13hour 8minute
11hour 36minute
10hour 21minute
8hour 22minute
10hour 13minute
9hour 39minute
9hour 3minute
5hour 35mnute
Records the daily life
between humans and objects
in three dimensions
Object verb
[ EN / KR ]
The artwork <Object Verb> captures the interactions between humans and objects that take place within the four-dimensional spacetime, recording them in three dimensions.
The intention behind this work is for the viewer, by observing the object visually displaying the actions it has undergone, to recognize that the object is not just a lifeless, stationary thing, but rather something that interacts with them and coexists in the same space.
Human beings have developed countless combination systems by creating and recombining various methodologies, such as language, mathematics, and machines. Among them, language stands as one of the most profound systems that humanity has developed over thousands of years. Typically, essays are a form of expressing one's world using this combinatory system called language.
The artwork <Object Verb> captures the interactions between humans and objects that take place within the four-dimensional spacetime, recording them in three dimensions.
The intention behind this work is for the viewer, by observing the object visually displaying the actions it has undergone, to recognize that the object is not just a lifeless, stationary thing, but rather something that interacts with them and coexists in the same space.
Human beings have developed countless combination systems by creating and recombining various methodologies, such as language, mathematics, and machines. Among them, language stands as one of the most profound systems that humanity has developed over thousands of years. Typically, essays are a form of expressing one's world using this combinatory system called language.
This work records the interaction between humans and objects in three dimensions. I crafted common objects we use daily out of clay, and these clay objects were used just like real ones. As the objects were used, they were deformed in accordance with the actions imposed on them by the user. Once the clay hardened, it was painted to resemble real objects. When the audience confronts these clay objects, they remember the actions they took toward the object and realize that they interacted with it.
We often perceive ourselves as mere "users" of objects, but the relationship between humans and objects is far more complex. While humans invent and create objects, our habits, tastes, movements, and even lifestyles are shaped by those very objects. This reveals just how much influence objects exert on us. In truth, humans and objects share a reciprocal relationship. Through this work, I hope the audience moves beyond the position of a mere user and experiences the mutual, interactive relationship between humans and objects.
We often perceive ourselves as mere "users" of objects, but the relationship between humans and objects is far more complex. While humans invent and create objects, our habits, tastes, movements, and even lifestyles are shaped by those very objects. This reveals just how much influence objects exert on us. In truth, humans and objects share a reciprocal relationship. Through this work, I hope the audience moves beyond the position of a mere user and experiences the mutual, interactive relationship between humans and objects.
Human beings have developed various combination systems and have recombined them to produce innumerable creations such as mathematics, engineering, and language. Over thousands of years, language that forms the essay has been the greatest system that humans have combined. This combination composes the essay as a method to express one’s world. However, in the exhibition which aims to derive alternative essays as a methodology, Park takes an ‘object’ as a material to draw a new type of essay and departs from the standard of the written format of it.
Like language, humans have applied knowledge to make basic combination systems for objects, in which we call it as design in other words. A cap of a bottle, a handle for a cup, and wheels in a suitcase are the examples of a perfectly calculated formula for their combination systems. However, despite both language and objects using the same ‘combination’ methodology, their forms and impressions are completely different.
As a starting point, the designer carried out research on differences between a text and an object, in which she finds it as ‘the record of a movement alive in a time frame’. Although both language and objects are created within the passage of time, unlike language, the objects look standstill in a time frame. A sentence on the other hand clearly depicts both the movement of a subject and the mobility of time by itself through ‘verbs’ and ‘tenses’. The objects have their movements through humans and can neither involve any movements nor record time on its own. This is the reason why objects seem stationary away from time.
Like language, humans have applied knowledge to make basic combination systems for objects, in which we call it as design in other words. A cap of a bottle, a handle for a cup, and wheels in a suitcase are the examples of a perfectly calculated formula for their combination systems. However, despite both language and objects using the same ‘combination’ methodology, their forms and impressions are completely different.
As a starting point, the designer carried out research on differences between a text and an object, in which she finds it as ‘the record of a movement alive in a time frame’. Although both language and objects are created within the passage of time, unlike language, the objects look standstill in a time frame. A sentence on the other hand clearly depicts both the movement of a subject and the mobility of time by itself through ‘verbs’ and ‘tenses’. The objects have their movements through humans and can neither involve any movements nor record time on its own. This is the reason why objects seem stationary away from time.
It perhaps is a matter of course that humans feel a sense of closeness with characters that have temporality, like different impressions we have in between stationary objects and alive animals or growing and withering plants that might seem stationary. Chanbyul wants to make the objects to be seen lively in a time frame by itself. To do so, Park grants incidents to her objects and captures their kinetic actions that are created while interacting with humans. When incidents are created in a time frame, the objects with incidents also obtain temporality.
In the work <Object Verb>, the objects remember each of the incidents that happened to their body. Park recombines the objects with clay that gets deformed by external forces. Using this nature, she records lively movements that the objects experience in daily life. By visually revealing these moments, Chanbyul transforms each object into a character of a novel and narrates with her objects by granting them incidents and characteristics.
“We are moving but also confined in a spot of existing time.” – Time by Alexander Demandt
The work <Object Verb> records and visually holds the spot of time for its evidence. The current movement that will become a past is captured in the real object and is being led to the future. This signals that the objects are present with human beings in time.
In the work <Object Verb>, the objects remember each of the incidents that happened to their body. Park recombines the objects with clay that gets deformed by external forces. Using this nature, she records lively movements that the objects experience in daily life. By visually revealing these moments, Chanbyul transforms each object into a character of a novel and narrates with her objects by granting them incidents and characteristics.
“We are moving but also confined in a spot of existing time.” – Time by Alexander Demandt
The work <Object Verb> records and visually holds the spot of time for its evidence. The current movement that will become a past is captured in the real object and is being led to the future. This signals that the objects are present with human beings in time.
Photo credit @pierrecastig
Copyright2021©. Chanbyul Park All rights reserved.