Thesis Solo Exhibition － A COLLECTION OF NOTHINGNESS
March 28 - April 1, DeKalb Gallery of Pratt Institute
Opening reception: 5pm, March 28, Monday
DeKalb Gallery of Pratt Institute
200 Willoughby ave, Brooklyn, New York, NY
For the hidden melodies in subjects, languages are rough notations. The infinity of the described objects was limited words by words. However, limitation might be the only possibility of description. On the other hand the sadness of losing perfection also created the charm of description. When a single line was drawn, the chaos was dispelled. Each line is a necessary wound of canvas. The light of integrity needs to flash in fragments. It is almost a nondualism statement. This contradiction provides a space for art to grow.
However, the miracle of description is not the only fascination. Through my bilingual experience, the impossibility of translation is recognized everyday. Translation might be based on a synonym equivalent between languages. But the literal equalizing is impossible. There are always gaps between different languages. This gap created a special empty space in my experience of thinking. After that, the gaps among words and sentences of a same language became visible.
It is these gaps that create a fascinating shadow of emptiness where the sensitive inspiration could poetically dwells. Something similar also happens in making artworks. I got interested to deal with the joy of recognizing the emptiness in objects by making artworks. It is even clearer in putting works together for my exhibition. Organizing the works together feels similar to building a garden by a visual semantical way: Creating a “landscape of gaps” and the “collection of nothingness”.
UNNECERARY GUIDE OF THE WORKS:
“Human make materials into objects, then time turn objects back into materials.”
A1. “The Shapes of Idea Vanished and Here Bloom Landscapes”
10 silver gelatin prints
A2. “Ecclesiastes 6:4”
oil and acrylic on bass wood, written:
“It comes without meaning,
it departs in darkness,
and in darkness its name is shrouded.”
“This is about languages, characters and replacements,
about the scales which are given onto objective things,
and the missing connotations which contribute to the possibility of description.”
B1. “Discriminative Heart”
digital printed photo of waves with brush drawn waves,
earthenware with bronze glaze,
digital print of a girl squatting on a wild field,
silver gelatin print of water fall,
digital print of a measured waterfall,
2 used sticker,
2 drawn test strips,
a test strip of texture.
B2. “Found Edge”
a found old photo of a seashore with 5 people.
B3. “Thirty Six Ways of Touching a Plum Flower”
14 silver gelatin prints of photos of gallery floor in Chelsea,
5 gray levels print of waves,
a picture of a gazed shadow,
an uncompleted magnified image of dusts by oil paints on wood panel,
a picture of 8 hibiscus flowers numbered by the degree of blooming,
a piece of found stone,
a transferred Polaroid photo of a planet on rice paper,
a print on cotton paper.
a charcoal drawing surrounding the edge of wall
Triplets: “On Seeing”
C1. Triplets “Dharmakaya”
an oil painting on canvas,
an ideal image of the universe with two layers of shadows came from the universe,
a metal plate with Hanshan’s (8-9 A.D.) poem:
“This soul of mine is like an autumn moon.
So clear, like a jade pound.
As nothing could be compared with it.
So how could I describe it to you?”
a picture of a picture of nature .
C3. Triplets “Nirmanakaya”
an oil painting on canvas,
repeated writing of the “Tri-drsti-namitta-mudrā” with a picture of branches,
a window view of plants.
50 platinum prints on 50 kinds of rice paper of a same image.
D2. “Heavenly Bodies, as Oversized Dusts”
21 studies of astronomy pictures.
D3. “Earthen Boat”
a boat made of clay,
a mural of lakescape and an aerial view of a moving boat.