HYUNHEE DOH

Scene of Senses

One of the artwork’s important roles is a re-recognition of a real-life narratives. And a very strong element that can make a re-recognition happen is ‘sense.’ To achieve the expand of a viewer’s experience with senses in his/her/their real-life scene, I create painting that is like a condensed chunk of senses collected from living moments.

To make such subtlety, layers of wet shades are accumulated. The process to build up numbers of layers is time-taking, slow and silent, but it is an essential part because it metaphorically embeds the amount of time spent in the process to the painted narratives.

When the painting is completely transformed into a thin flowy scenery, it finally acquires a role in a real-life space. A big wave of sole abstraction compressed in a square picture plane offers a new perspective to the living space and real-life narratives. It almost looks like a paper-cutout of a different realm. Such impact is emphasized through the thick depth of the painting’s edges fully painted and connected to the front dimension. As the painting has an outstanding body that is physically coming out of the wall, a thin and flattened scene inside the painting is dragged out to the viewers eyes with more oddness and distinguish it with the real-life scenes.

Cube

Placing this chunk of flattened scenery in the middle of a real-life space, I felt like some of the perspectives have changed. I often wondered about the oddness of reality, sensed certain color more strongly, and permitted myself to be more emotional with the objects around myself.

Pushing further with the curiosity, ‘how can a living narrative be much weirder, more impacted and influenced by the flattened scene of the painting?’, I decided to make the paintings more physical. Making the painting’s edges deeper made slight difference, but it was still only a little more sculptural version of two-dimensional visual form. To figure out, I made a painting with no edge ends on the wall and be portable in any real-life scenes. So, I started making 'Cubes.'

The Cubes differently reacted to the real-life circumstances. It made various reads of a scene depending on where it is placed. To let it become the stronger form of statement unlocking the oddness of daily narratives we are already used to, I experimented by taking it to a few places and sit in the real-life scenes. For example, one of the scenes I liked the most was it sitting in my hallway. While I never regarded my apartment building to be any other place than a living area, putting the cube in middle of the space made the whole place a little surreal.