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Hyosun Lee

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The figure of man, for the uncertain world

The myth and legend starts off at night. The night, we can not look around, is an imaginary night. If a person get an information less in the night, he starts to imagine.

The distorted shape of the human body emphasizing the curve allows the viewer to imagine the picture, not interpret it. The distorted human body takes a posture that is impossible in reality or allows it to exist anywhere. A face without a mouth has the same context. The expression of an undefinable character accepts several emotions that cannot be defined as one. Through the ambiguous gaze of the person staring at the object outside the screen, the viewer projects the “some self” or substitutes the “some emotion” into the person’s situation. Depending on each situation and emotion, a new story is created within a given situation in the picture.

Someone, including me, wants to live in an undecided time.

Painting is mainly my inner feelings about my experiences. It does not describe a scene as it is, nor does it evoke unreality..

I found the connection between physical reality and innate reality where there were subconsciousness and emotion. I drew the picture which existed in both reality. It can be the imagination at the moment.

I draw points where we can comfort ourselves in tired reality or cross into the unknown world by projecting our current self or emotion to the undefined character in the picture that transcends reality.

A portrait of a blue man, floating people

There is an essay written by Park Ji Won, ’The place worth crying over’. He says about the seven emotions ( joyful, angry, love, jolly, sad, arrogant, greedy). Among the seven emotions, the sadness can integrate six emotions. Whatever I can feel, the feeling goes into the sadness at the climax.

When I worked for expression of human history, I had thought what is the color which can integrate.  I concluded it is the blue. The blue is comfortable, cozy. But, it can be sad or lonely. I felt the blue has the irony. After the conclusion, I drew a blue man without expression. People can assimilate into the picture by diverse emotions. They can find new story and new style of sadness.

A distorted human body shape and a person without an expression evokes the viewer’s imagination, and a blue person as a color that involves all emotions projects the viewer’s emotions. Therefore, the undefined blue figure in the painting can be anything and can go anywhere. They are floating beings like the wind, flowing somewhere from a place called life that is shaking and changing from time to time.

Zoom-inism

Zoom-inism is a new term coined while working. Zoom-inism is a method of adding another image to a new image through the expansion of the first image. Zoom-inism comes from cinematography. This is a technique that fixes the position of the camera and adjusts the focal length of the lens to make it seem like it is approaching the subject, or shows the effect of the subject growing in the frame. Through the gaze that looks closely at the object in the frame, it shows the psychology of the subject of the gaze or emphasizes the characteristics or emotions of the object.

By applying these cinematic techniques to pictorial images, I devised a process of creating a new image again by enlarging some of the first images presented. Depending on which part of the initial image to be enlarged, the reproduction of the image is infinite. In the process of enlarging the image, visual unfamiliarity is created through differences and repetitions of objects, replacement of space, and distortion between accidentally cut images and newly inserted images.

The produced images have connectivity, not fragmented, and have a narrative in connection. Each image has a story like a cinematic scene through mutual creation, and presents a new association for the following image. In the process, in-depth empathy and incomplete prospects for the objects appearing in the image become possible.

The image created through Zoom-inism asks the question of how to look at the object with a gaze, and accumulates a sense and appreciation of the object gradually.
At the individual level, the consideration of the inner self is visually deepened. Each image that gradually expands and enters reproduces the relative world and multiple existence. It is Zoom-inism that creates an attraction and fascination for a world that is not recognized but can exist, with narratives that did not exist in the previous image appearing in the next image.

The figure of man, for the uncertain world

The myth and legend starts off at night. The night, we can not look around, is an imaginary night. If a person get an information less in the night, he starts to imagine.

The distorted shape of the human body emphasizing the curve allows the viewer to imagine the picture, not interpret it. The distorted human body takes a posture that is impossible in reality or allows it to exist anywhere. A face without a mouth has the same context. The expression of an undefinable character accepts several emotions that cannot be defined as one. Through the ambiguous gaze of the person staring at the object outside the screen, the viewer projects the “some self” or substitutes the “some emotion” into the person’s situation. Depending on each situation and emotion, a new story is created within a given situation in the picture.

Someone, including me, wants to live in an undecided time.

Painting is mainly my inner feelings about my experiences. It does not describe a scene as it is, nor does it evoke unreality..

I found the connection between physical reality and innate reality where there were subconsciousness and emotion. I drew the picture which existed in both reality. It can be the imagination at the moment.

I draw points where we can comfort ourselves in tired reality or cross into the unknown world by projecting our current self or emotion to the undefined character in the picture that transcends reality.

A portrait of a blue man, floating people

There is an essay written by Park Ji Won, ’The place worth crying over’. He says about the seven emotions ( joyful, angry, love, jolly, sad, arrogant, greedy). Among the seven emotions, the sadness can integrate six emotions. Whatever I can feel, the feeling goes into the sadness at the climax.

When I worked for expression of human history, I had thought what is the color which can integrate.  I concluded it is the blue. The blue is comfortable, cozy. But, it can be sad or lonely. I felt the blue has the irony. After the conclusion, I drew a blue man without expression. People can assimilate into the picture by diverse emotions. They can find new story and new style of sadness.

A distorted human body shape and a person without an expression evokes the viewer’s imagination, and a blue person as a color that involves all emotions projects the viewer’s emotions. Therefore, the undefined blue figure in the painting can be anything and can go anywhere. They are floating beings like the wind, flowing somewhere from a place called life that is shaking and changing from time to time.

Zoom-inism

Zoom-inism is a new term coined while working. Zoom-inism is a method of adding another image to a new image through the expansion of the first image. Zoom-inism comes from cinematography. This is a technique that fixes the position of the camera and adjusts the focal length of the lens to make it seem like it is approaching the subject, or shows the effect of the subject growing in the frame. Through the gaze that looks closely at the object in the frame, it shows the psychology of the subject of the gaze or emphasizes the characteristics or emotions of the object.

By applying these cinematic techniques to pictorial images, I devised a process of creating a new image again by enlarging some of the first images presented. Depending on which part of the initial image to be enlarged, the reproduction of the image is infinite. In the process of enlarging the image, visual unfamiliarity is created through differences and repetitions of objects, replacement of space, and distortion between accidentally cut images and newly inserted images.

The produced images have connectivity, not fragmented, and have a narrative in connection. Each image has a story like a cinematic scene through mutual creation, and presents a new association for the following image. In the process, in-depth empathy and incomplete prospects for the objects appearing in the image become possible.

The image created through Zoom-inism asks the question of how to look at the object with a gaze, and accumulates a sense and appreciation of the object gradually.
At the individual level, the consideration of the inner self is visually deepened. Each image that gradually expands and enters reproduces the relative world and multiple existence. It is Zoom-inism that creates an attraction and fascination for a world that is not recognized but can exist, with narratives that did not exist in the previous image appearing in the next image.

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