| I identify my art practice in three key elements: experiencing space, materiality, and rethinking the context of space. I am interested in exploring the ideas of experiencing space in relation to psychological sensation that are involved in certain activities or in visual forms. This form of interaction reflects the structure or systems of contemporary world that I find characterize our society such as speed, chaos, force, fragility, and temporality. I am interested in social tension, in particular how everything forms within the infinite continuum of deconstruction and reconstruction, and how the systems and structures of our world rely on this autonomy. |  |
Soo-Joo Yoo
I identify my art practice in three key elements: experiencing space, materiality, and rethinking the context of space. I am interested in exploring the ideas of experiencing space in relation to psychological sensation that are involved in certain activities or in visual forms. This form of interaction reflects the structure or systems of contemporary world that I find characterize our society such as speed, chaos, force, fragility, and temporality. I am interested in social tension, in particular how everything forms within the infinite continuum of deconstruction and reconstruction, and how the systems and structures of our world rely on this autonomy. The ideas of infinite continuum of deconstruction and reconstruction apply to the method of creating work, and the different process I apply to creating work itself becomes a part of the ideas, which determines the final forms and ideas of the work.
The work, Untitled, was installed in a long narrow space, approximately 2.5 by 15 by 15 meters, in between the space of two glass windows. Using materials such as roofing sheets, drainage pipes, clear tubes, fluorescent lights, Christmas lights, blinds, animal spikes, and foils, the work mimics contemporary and futuristic visual culture. The drainage pipes were painted in glossy black and white, interweaving the structure of the building from ground to a 14-meter-high ceiling, and create the curve in between the structure of the building. The Christmas LED inside of the pipes flickers constantly, and as it flickers, it subtly lightens up the space through the holes in the pipe. The red and blue fluorescent lights were installed to emphasize the reflections and sharp edges of materials and window glasses, and define the structure of the work in relation to the space.
Materiality itself resonates the time and space where we are now, and it closely interlocks with contemporary society. The work, Untitled, aims to create a space where the forms and structure of materials are challenged, and reconstruct the meanings of the materials and transform their conventional ideas of functional uses to something that purely manifests as a visual form. The concern for this work lies in the space that resonates social tension and temporality, and the relationship between architecture and art, between materials and space. The pipes that run under the buildings, the reflection and glossiness of materials in subcultures, magazines, and designs, and space of extreme order like prison or institutions are the elements that I employ to explore time and space where we are now, and what is ahead of present before future. Through the process of arranging and rearranging, deconstructing and reconstructing with materials, the relational forms are challenged, and assert hope and desires in the systems of our world.
