My art practice explores comparative art-philosophical inquires between French Philosopher Gilles Deleuze’s transcendental aesthetics of sensation and the aesthetics of Tao (道), as an open one-all. Through this investigation, I aim to create a work of art to transform everyday life experience into something completely new and original, by challenging pre-existing understanding and well-disposed presuppositions. My recent work Documentation Art explores the virtual aspect of the actual painting though the digital documentation of Korean Bunche painting process, by making experimental video art pieces. My primary medium is the traditional Korean painting called Bunche which refers to a multilayer technique which uses powder colour pigments mixed with water glue on Korean Mulberry paper.
A series of my Bunche paintings’ processes were documented with digital photography and film, and reinvented as an independent video art piece which I call Documentation Art. Documentation Art is my art practice-based PhD research and explores the boundaries between film and painting, and develops an original approach to the presentation of process. This practice makes painting’s invisible work visible, and reveals the normally hidden process of painting, a process which is imperceptible when audiences view only the final painting.
Documentation Art challenges conventional understanding about painting as a single identity, as it reveals multiple layers of paintings which are imperceptible if the audience sees only the executed painting. This approach questions the idea of figurative art as representational since painting itself is what Gilles Deleuze calls a virtual multiplicity, not a static single identity, which cannot be interpreted by pre-conceived symbolic signs and conceptual analogies. Through this practice, painting is becoming an object of essential encounter and experience with pre-logical sensation, rather than an object of interpretation.