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2 video projections (size varies)
The looping action of walking and sitting uses the space of the gallery as her possible trajectory by situating the two identical video projections on the walls, opposite from each other. In both sides, she is on a perpetual walk to reach the other side, which she never reaches. The only space where she can complete her journey is through the empty space between the two projections. The invisible walk creates a full circle between the two video spaces.
SELECTED WORKS FROM 1999
The Fine Line (between reality and fiction), 2009
The characters and incidents portrayed and the names herein are fictitious and any similarity to the name, character and history of any person, living or dead, is entirely coincidental and unintentional.
i r y, 1999
mixed media installation
2 T.V monitors, 2 VCR’s, 7.5’ column
Two monitors are placed in column (7.5’ tall). One monitor with the feet sits at the bottom of the column and another one with the hands sits on the top. There is a gap between the two monitors where the rest of the body resides with the sound of my breathing. The intensity that builds from the act of standing on tip-tow is enhanced by the structure of the column, tight framing and the sound.
ABM machine, video projection
site-specific video installation
This is collaboration with an artist Ed Janzen for Artseen in Windsor. Artseen is an annual site-specific exhibition organized by Artcite Inc., Artist-run-centre in Windsor. This year the site was an old CIBC building. Jenzen and I put together this piece as a response to the financial institution’s “false advertising” of the notion of financial security as a direct link to the security with one’s life and well-being. Jenzen appropriated the ABM machine as an obsolete machine, and I co-respond to it in a video piece – intangible nature of the notion “security”.
single channel video
In this short video double, the unaware action of one character’s clicking a remote control is affecting the physical stability of the other. This exchange between the two suggests the disjunction within oneself caused by technology.
order to be, 2003
The repetitive banality extends itself into deliberate contemplation. The minimalistic video image echoes the constant inner thoughts of daily reminders to oneself.
48 min loop
In Renovation 2, taking one colour out of the Renovation 1’s palette, one of decorative panels at the Khyber centre for the Arts Ballroom Gallery (in Halifax) has been painted in orange colour and repainted back to original white colour of the wall. The entire process has been videotaped and transferred to a DVD prior to the exhibition. The completed video is projected onto the same wall that just went through the transformation.
8-channel sound composition: Erin Costelo
Video: June Pak
in “Human Story Tour” organized by the Free
Form Film Festival (FFFF).
Human Story Tour (2005)
October 27, 7:00pm at Utah Valley State College, Orem Utah
October 9, 9:00 at Dan's Silverleaf, Denton Texas
October 8, 6:00pm and 10:00pm at Church of the Friendly Ghost, Austin Texas
October 1, 10:30 at Ragtag Cinemacafe, Columbia Missouri
September 30, 8:00pm at Mad Art Gallery, St. Louis Missouri
September 28, 4:30pm and 8:30pm at Orpheum Theatre, Madison Wisconsin
September 25, at Rodan, Chicago Illinois
September 23 and 24, 8:00pm at The Music Gallery, Toronto Ontario
September 17, 8:30pm at OfficeOps, Brooklyn New York
September 16, 7:30pm at the Shed, Palmer Massachusetts
September 13, 8:30pm at Concordia University, Montreal Quebec
September 12, 9:30pm at Club Metronome, Burlington Vermont
September 9, 8:00pm at The Maritime Conservatory of Performing Arts, Halifax Nova Scotia
September 7, 8:00pm at The Octagon Arts Centre, Dingwall Nova Scotia
multi-channel video/audio installation
I am using
a preexisting film entitled 3-iron by a Korean director KIM, Gi-Duk as a source
material in walkthrough. The film portrays a man who breaks into strangers’
homes when the owners are away. The situation is not typical break-in’s.
It is rather a quiet and intriguing act of care (fixes small household appliances,
washes their clothes, waters the plants, etc.) From the character’s
strange intrusion to empty houses, I am drawing a parallel between his action
and my personal interest in the in-between states that I am constantly traveling
to and from. As an extension from the character’s relation to the empty
houses, I am drawing another parallel to the intriguing intersection of the
filmic space and reality. To emphasize the collision between the two realities,
I took a few seconds of moments in the film where a figure enters and exits
the frame as a starting point for this video. Then the figure is masked with
solid black, creating a silhouette of movement passing through the screen.
The movement illustrates the transient moment between reality (outside of
the filmic space) and fictional reality (filmic space).
The installation is set up with multiple mirrors as a projection device: image reflects off of the mirror and, projects circular and fragmented images of the original video. When the viewer walks around the installation space, s/he casts a shadow (which resembles the silhouette on the projected image) and becomes part of the image.
Job: social exchange between art and everyday 2004
performance, text, digital print, video
location: Toronto, London, Kingston (ON), Kelowna, Vernon (BC)
Paint Job is an on-going project that engages with everyday life and its social dynamic. It emphasizes the dialogue and the interaction rather than the final art as a tangible product. The colour swatch I am using in this project is called “Algonquin Autumn”: The name of the colour series suggests the idea of the Great Northern Ontario landscape and its pivotal role in the Group of Seven’s paintings, and the underlining reflection on the Canadian cultural identity. As an immigrant from Korea, the act of “self-invitation” to various Canadian homes is an intriguing play on the idea of ownership.
Colour, Stereo Sound
Single-Channel Corner Video Projection
This work was made during the Advanced Course in Visual Art at Fondazione Ratti in Como, Italy. The questions that are asked by two emotionless faces are my response to the city of Como: the distinctive separation between clean, beautiful part of the city for the tourist and the rich, and the destroyed and poorly maintained part of the city for the underprivileged. The viewer is confronted by the two questions: “Do You Believe What You See?” and “Do You See What You Believe?”
sorry (I can only give you three seconds), 2003/04
video projection, 2 speakers
I’m sorry (I can only give you three seconds) is a video/ audio installation utilizing a small room where a full-wall size video projection and a continuous audio of “I’m sorry’s” will inhabit the viewer. The video is simulated version (done in Flash then transferred to video) of Atari’s “Pong” game, and audio is collection of the “I’m sorry…” lines from movies and TV shows. The constant back and forth of the pong and continuous apologies echo each other’s repetitive entrapment within the meaningless expressions. By the placement of the projector, the viewer will cast a shadow on the projection when s/he enters the installation space. The entire installation is a constant cycle of apologies between the artist, the work and the viewer.
appropriates a short clip (5 sec long) from The Wizard of OZ (1939), in which
Dorothy’s house is falling from the sky. This clip is duplicated on
5 different monitors in a vertical format. Each image is synced so that it
appears as if the house is falling from one monitor into another continuously.
The sound increases each time as the house successively falls from monitor
to monitor until it reaches the bottom screen.
In this video, the heightened reality found in Hollywood films (is revealed) and to reveal the simplicity of effects used in a very well known piece of film footage. In some ways our video is similar to Andy Kaufman’s magic routine where he hums his own musical background while pretending to perform magic tricks that have no magic to them.