Yiju 이주
︎︎︎Info / CV
︎︎︎ Email
︎︎︎ Instagram
︎︎︎ twitter
<We Care Because We Scare>
2021. 4. 8 - 2021. 4. 17 space 100_0
〈piece 1: the room〉/〈piece 2: the bed〉
〈piece 2: the bed〉
Gauze is not a completed fabric. Gauze is a temporarily woven, composition of threads. It rather is a substitute of skin than existing itself. A sheet of gauze on a wounded skin acts as temporary skin. A sheet of gauze itself is imperfect, but they are woven together and makes a membrane that divides the space.
In 〈piece 1: the room〉, gauze-membrane is mimicking the form of a curtain of a multi-person room in a hospital. The space within the curtain is a room but at the same time, not a room. It functions as a wall to some degree, but it could fall down with the single gesture of drawing the curtain open. The gauze membrane takes up the limited space in the room and has a distinct form. The membrane that traces sewn together with needle and threads can be seen, reminds the memory of tactile senses of skin, and serves as a metaphor of fragile body that is unclosed to the external world.
In 〈piece 1: the room〉, gauzes make room, in 〈piece 2: the bed〉, gauzes became the object. It is given the size and volume of a single mattress of a sickbed. This sickbed is pulled out of the curtain and fully exposes its appearance while hanging in the ceiling. This sickbed has no patient, but on the sheet, an image of the trace of a body is imprinted.
In 〈piece 1: the room〉, gauze-membrane is mimicking the form of a curtain of a multi-person room in a hospital. The space within the curtain is a room but at the same time, not a room. It functions as a wall to some degree, but it could fall down with the single gesture of drawing the curtain open. The gauze membrane takes up the limited space in the room and has a distinct form. The membrane that traces sewn together with needle and threads can be seen, reminds the memory of tactile senses of skin, and serves as a metaphor of fragile body that is unclosed to the external world.
In 〈piece 1: the room〉, gauzes make room, in 〈piece 2: the bed〉, gauzes became the object. It is given the size and volume of a single mattress of a sickbed. This sickbed is pulled out of the curtain and fully exposes its appearance while hanging in the ceiling. This sickbed has no patient, but on the sheet, an image of the trace of a body is imprinted.
At the frontal part of 〈piece 1: the room〉 is lighted from both sides projected to the curtain. (〈The Scar(e)〉). On the one side the last scene of the movie 〈Dr.Strangelove〉 is repeatedly playing with the projector. On the other side, the bright light of the spotlight erases the very same projection. The last scene of the movie 〈Dr. Strangelove〉 is, the repetition of the scenes of atomic bombs blowing up, and at the same time, the romantic music is inserted on it. The endless attempts of trying to inscribe image on the gauze, on the skin, is frustrated infinitely. What's remaining on the sheet of gauze is a flickering of pixels survived from a bright light. The projecting flash of light that made by an atomic bomb, the wound of a bomb left in the world cannot leave a trace on the substitute skin, only to be erased by another flash of light. Eventually, what fills up the room is the romantic music from the movie repeated endlessly.
〈piece 1: the room〉/〈The Scar(e)〉
〈The Care〉
〈White Shadow〉
In the white hollowly room, right across the 〈The Scar(e)〉, you can see 〈The Care〉.
The traces of the human body was made, through painting onto the skin and printing directly on the fabric. Now, these body-prints are cut out into pieces and solidified on the cement brick together. In 〈The Care〉, these cement bricks are filling up the room like tombstones.
In 〈piece 1: the room〉and 〈piece 2: the bed〉, these traces of body was painted onto the gauze and hung in the air. Now the very same body-traces are standing themselves with their own body, but being shredded and fractionalized and showing only part of the body. A thigh next to a breast, a belly button next to an arm, the linear arrangement of tombstones does not allow the composition of an organism.
In the white room, there's a shelf. (〈White Shadow〉)
On the shelf, there are the gypsum sculptures. They were made by pouring liquid gypsum into the glass bottles and breaking them. Every gypsum sculptures have different shapes and sizes as if they were bodies. The shelf is filled with sculptures. And some sculptures came down and leaned against the cement brick of 〈The Care〉 and created the balance. A gypsum sculpture and a cement brick leaning against each other look like a body and a body support each other.
This might be an attempt to answer the question of, how vulnerable bodies could persist its existence. Although the skin of 〈The Care〉 is just an image of a part of the fractionalized body, it leans on to the gypsum body of 〈White Shadow〉, which shows the solidarity between imperfect bodies.
The traces of the human body was made, through painting onto the skin and printing directly on the fabric. Now, these body-prints are cut out into pieces and solidified on the cement brick together. In 〈The Care〉, these cement bricks are filling up the room like tombstones.
In 〈piece 1: the room〉and 〈piece 2: the bed〉, these traces of body was painted onto the gauze and hung in the air. Now the very same body-traces are standing themselves with their own body, but being shredded and fractionalized and showing only part of the body. A thigh next to a breast, a belly button next to an arm, the linear arrangement of tombstones does not allow the composition of an organism.
In the white room, there's a shelf. (〈White Shadow〉)
On the shelf, there are the gypsum sculptures. They were made by pouring liquid gypsum into the glass bottles and breaking them. Every gypsum sculptures have different shapes and sizes as if they were bodies. The shelf is filled with sculptures. And some sculptures came down and leaned against the cement brick of 〈The Care〉 and created the balance. A gypsum sculpture and a cement brick leaning against each other look like a body and a body support each other.
This might be an attempt to answer the question of, how vulnerable bodies could persist its existence. Although the skin of 〈The Care〉 is just an image of a part of the fractionalized body, it leans on to the gypsum body of 〈White Shadow〉, which shows the solidarity between imperfect bodies.
