I am interested in the system of time and photography. As Roland berthas illustrated in the book Camera Lucida: Reflections on Photography, “Cameras, in short were clocks for seeing”. I am interested in seeing how photography and time unfolding one onto the other. Time is not absolute. It is a systematic idea that was invented according to human beings’ perceptions and understanding of the world. We experience the past constantly; everything that is happening right now immediately becomes the past. Photography is another system that we invented to serve or perceptions in order to record the trace leaved by time. The passing of time is marked and measured by the traces it leaves – it can be measured by rhythmic water drops, the arc of the sun against the sky, or a standard mechanical clock. I see these daily facts and elements through the scope of photography and transform them into a visual experience.
Scanned Untitled Minutes 1#
2018, 30in x 75in, Inkjet Archival Pigment Print;
I scanned The clock with the Flatbed scanner. The time spent on scanning is the time has passed and also been scanned on the clock face. Time becomes a raw material come into play. The time going on the clock face is the time that participate in the image making process. The higher resolution it is scanned, the longer time it takes and more distortion occurs on the image.
Clocked Grey Scale
13"x13"; Silver Gelatin Print;
This work illustrates a fundamental relationship between time and photography. The longer the exposure is, the darker the image will become. I used a darkroom timer to expose silver gelatin paper. The gray scale that is produced by variations of time has reference to the Zone System, which both uses calculations of time to make exact photographic exposures and uses photographic procedures to accurately render variations of time.
2018, 4in x 90in, Inkjet Archival Pigment Print;
Breath/ heart beats, etc are some biological interpretation that human body has to experience time. What appears in this work is a photograph of a person's breath through a duration of time on one full roll of 35mm color film. I am having someone standing in front of camera holding a candle in front of their chest in a dark space. The breath associate with the fire and transformed into the movement of fire/light. Instead of taking pictures, I was moving the 35mm film on the camera back, recording this event.
Three and One Minute
Video Mix Media installation: The video of one minute(Left); The pulled-out VHS tape which takes the video(Middle); The flip book which made from the pulled-out frames from the same video (right).
The Matter Of 30min
The Matter of 30min addresses on the simple truth that fish die without water. By using photography and videography to address the concept of time, two human-made systems are conflated, and one system to unfolds onto the other. This work could be regarded as a timer that measures all the events that happened within a 30-minute duration. If we discard the top and bottom TV, the middle one only showed the action of water dripping. This TV works as a clock and timer itself. While we consider the top and bottom TV in this dialogue, the functionality of the middle TV does not change as a part of the system but a timer. With the life and death of the fish as content added into this time system, time becomes experience. We are not looking at the water dripping in the middle TV, but the fish. This piece refers to every living thing on this planet living by time. We experience time within its context. Time is meaningless on its own. The Matter of 30min sets up an expectation for the future fate of the fish. This visual experience presents a slowly evolving narrative that suggests mortality and an inevitable finality in some future moment.
Sculpture through Etching Process; 44min 28sec acid dripping on cooper plate
The Idea of Do and Undo in Perceiving Time
Two tape recorders recording one onto the other through out the exhibition time, the tape gets played, washed and rerecord the environmental noise through out the time while the metronome beating aside.
This is a video work that is investigating the relationship between the sound and how human being perceiving time with ears. This work is challenging making process by simply reverse the work flow.
Sun Track, Sound Track
Audio mix media installation;
This work is the result of a different set of process rules, but it functions similarly. Magnifying glasses were set up in the morning on a bright sunny day. Over the course of the day, they burned through sheets of paper creating a track that recorded the movement of the sun. These sheets of paper were then run through a simple music box to transform the mark into sound/music. Depending on the track on the paper, the resulting sounds are different. In this piece, one system (light and heat) is translated into another (sound). While playing the note through the music box, the rolling action controls the speed of music. It’s also a collaboration between ear and hand; we play the music at the speed that sounds right. In this process, the perception of time changes as a result of the speed of the hand and aural perception. No matter how long it takes to burn this piece of music, playing it at a pace that sounds right is the choice of the viewer/listener.
Capture the Capture
2min video loop;2017, Video;
This is a video work that challenges the image making process with the process itself. The hall of mirrors effect within the mutual recording between two photographic devices creates a conceptual feedback loop. A smartphone camera and flat-bed scanner simultaneously record each other. The energy exchanges from one system to another, back and forth.
Reversing the Recognition of Time
After The Creation of Adam
This is a video work that takes advantage of the distortion of time in digital photo-echo. The video is captured with two recording devices. While a video camera records the hand expression, the computer monitor displays a live streaming the same hand/ expression, captured with its web-cam(The image appears horizontal-flipped).The delay between the two images is subtle and difficult to distinguish with naked eyes; but with the video playing, it is noticeable that the seemingly identical gestures are slightly staggered. This minimal time gap and the different perspectives between the two captures separates the same action and object into two different realities that exist in two spaces – one within the screen and the other one within the screen.
We Never Step into the Same River Twice
Video & Photograph