My work is about the universal temporality and also about an individual temporality inside such universal temporality. And this time concept has assumed concreteness by constant repetition and accumulation.

Work by newspaper

When I just started my life in France, I had subscribed to ‘Le Monde’ newspaper in order to know what is going on in this society and to improve my French at the same time. However, as time went on those newspapers were heaped up in my small room and ended up in intractability.

As the newspapers were heaped up I had started visually recognizing the passage of time and agonizing over how I could express such idea into pictorialization. My work stemmed from discovery of temporality that emerges and disappears always all the time.

Therefore early in my work, my main interest was to observe temporality of media like newspaper and I just considered leaving a scent of something on newspapers published every day as something really meaningful. That is why a series of my works has become a series of Portrait that describes endless repetition of life and death. To me, time of a day is actually the repetitive spot where life and death coexist.

I have employed folded daily newspaper instead of using canvas. Through laying over human face (instead of a specific person) on the newspaper with black colored pigment, I express temporality of a newspaper and human finitude.

Work by Grey Painting

Drawing a number of faces countless times early in my work, I realized that the printed type and blank space in the newspaper naturally got faint and even faces that I draw turned faded. Then I started trying to move the newspaper as a background into canvas. That is why I came to choose shabby chic grey color as background since it is similar to old newspaper! And I can feel that the faces which I had drawn countless times still remain on my hands.

However as those faces are jumbled together, it turned into an obscurity without concreteness in which shape of body still remains rather than clear recollection of body. It is like the sense of recollections that could not be removed although I try to remove, that could not be recalled even if I try to recall; such senses of memory still remains in my head and on my two hands as well.

Thus an unidentified and unclear image of face came out to the canvas. These are faces and are not faces at the same time: faces that removed identities are exposed. Together with the image of face, rough and liberal brush touch with grey color is also exposed.

With innumerable repetitions of drawing and erasing, vague feeling of face eventually got exposed: just minimal amount of pigment, which is as little as a lath, remains inside canvas. Therefore it seems that the surface of canvas is filled with riddling and grayish traces as if it has been removed by hands or an eraser.

Work by stamps

Using date stamps found at government offices, I affix a seal of date over and over on white paper. When stamp marks are overlapped each other at the same spot, original print disappeared. Like this affixing a seal until all the blanks in the picture completely disappeared is constantly repeated and accumulated at the same time.

As a time could be accumulated in a repeated everyday work by newspaper where types, blank spaces and faces are mixed up, as a vague temporality could be reflected through scarcely perceptible faces, stamps also show that the more we try to reveal the time, the more blurred, in another way.

Inhyuk PARK