(x, y, z)
(x, y, z)
(x, y, z)
Digital Art: 3D/CGI & Photography
The title (x, y, z) references coordinates that seemingly take one to a single point on Earth. However, terrestrial coordinates normally correspond to latitudes and longitudes while (x, y, z) is a deceptive reference to the Euclidean plane. This is reflective of the illusory essence of the piece.
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(x, y, z) began as simple photos of my everyday life in Seoul - sunsets, trees, books. While rooted in these tangible elements, my piece draws the viewer into a virtual, surreal world, reflecting the in-between condition of humanity. Hints of nature and ecology provide the undertones of this new world, through mountainous forms, growth, water, and erosion. These are jumbled and reassembled using virtual duplication, glitch-like texturing, and other techniques. Seen together, these demonstrate how our world exists in a very real and yet a very virtual space. (x, y, z) is as an exploration of how the virtual blurs our borders, horizons, and realities, and accurately reflects who we are today. We are 'in-between' our past - real, palpable - and our future - incorporeal, ethereal.
The title (x, y, z) references coordinates that seemingly take one to a single point on Earth. However, terrestrial coordinates normally correspond to latitudes and longitudes while (x, y, z) is a deceptive reference to the Euclidean plane. This is reflective of the illusory essence of the piece.
​
(x, y, z) began as simple photos of my everyday life in Seoul - sunsets, trees, books. While rooted in these tangible elements, my piece draws the viewer into a virtual, surreal world, reflecting the in-between condition of humanity. Hints of nature and ecology provide the undertones of this new world, through mountainous forms, growth, water, and erosion. These are jumbled and reassembled using virtual duplication, glitch-like texturing, and other techniques. Seen together, these demonstrate how our world exists in a very real and yet a very virtual space. (x, y, z) is as an exploration of how the virtual blurs our borders, horizons, and realities, and accurately reflects who we are today. We are 'in-between' our past - real, palpable - and our future - incorporeal, ethereal.
The title (x, y, z) references coordinates that seemingly take one to a single point on Earth. However, terrestrial coordinates normally correspond to latitudes and longitudes while (x, y, z) is a deceptive reference to the Euclidean plane. This is reflective of the illusory essence of the piece.
​
(x, y, z) began as simple photos of my everyday life in Seoul - sunsets, trees, books. While rooted in these tangible elements, my piece draws the viewer into a virtual, surreal world, reflecting the in-between condition of humanity. Hints of nature and ecology provide the undertones of this new world, through mountainous forms, growth, water, and erosion. These are jumbled and reassembled using virtual duplication, glitch-like texturing, and other techniques. Seen together, these demonstrate how our world exists in a very real and yet a very virtual space. (x, y, z) is as an exploration of how the virtual blurs our borders, horizons, and realities, and accurately reflects who we are today. We are 'in-between' our past - real, palpable - and our future - incorporeal, ethereal.
Noise
The haphazard, omnipresent axiom of noise that somehow can't leave your head - muffled.
TITLE:
Noise
Dansaekhwa
MEDIUM:
Acrylic Paint, Clay &
Plastic on Acrylic Canvas
DIMENSIONS:
1000 x 800 cm
CREATION:
September 2020 - January 2021
ABOUT:
Noise is simply the raw version of all sounds in the world. From a physicist's standpoint, it is the vibrations that course through every being. It imbues each and every one of us. This intangible & fundamental idea translates to a visual form via the concept of ‘Perlin Noise’. Perlin noise is a noise function that helps map textures digitally. It is a visualization of abstract, randomized numbers. The output is a foggy, somewhat grainy, grayscale pattern. This in turn can be manifested in the form of white noise, which in turn, is the raw form of all noise.
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For me, noise perfectly encapsulates the universal axiom of noise as well as the constant noise inside my head. The physical act of sculpting and mark making serves, quite ironically, as a break from that noise and the technology that perpetuates it.
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The white scape represents the raw form of noise; the colorful paint alludes to the various manifestations of noise around us and within me; the sealing plastic parallels the muffling escape from noise that this piece created for me.
