Lee Yong Deok artist’s writing
2011
Sharing the boundary in time and space
YOU and ME (1997) consists of two pieces of works that are hung side by side.
One is a frame of wallpaper in which smaller sized frames are laid upon. Framed within each small frame, are photographs of smaller frames: in this way, the sizes of the “frames” become smaller by gradation. These smaller frames lying on top of the wallpaper: the first frame I used is the largest of the three frames that one can perceive visually in perspective (although only the utmost outer one is a ‘real’ frame). Inside the outer (and biggest) frame, I placed a photograph taken of the original frame, then fitted it unto another frame that was small enough to fit within the first. Finally, the last frame was created with the exact same process.
For me the work was about gathering up different times within the same space. The different times upon photographing each image were brought together, with the times forming in rank in visual decrescendo. Simultaneously, the initial real frame exists in having its own photographed images within itself; that is, the real contains its own images. The overall effect of this containment blurs the boundary of each different time. What is intriguing is that the score of time changes in relation to the plane of distance. The beholder inadvertently perceives the register of time as that of distance or depth. It must be stressed that time has not been copied, however; this work is merely an amalgam of time.
The work next to the wallpaper frame is a pair of mirrors. The quicksilvered layer on the back of the oval-shaped mirror is scratched off. After the phrase ‘YOU and ME’ was written on the back, it was glued onto the rectangular-shaped mirror. The viewer comes closer to the mirror and looks at it, and there is his reflection on the mirror. Simultaneously, because of the written words, the viewer, ‘ME’, is led to feel the presence of someone or something that addresses the viewer as ‘YOU’. A sudden awareness of ‘ME’ being ‘YOU’ gives the viewer a jolt.
Every single soul who stands in front of a mirror and gazes at the reflected self-image is capsulated by the world of the subject as contrasted with the objects; there is only ‘I’. The feeling that there being only ‘ME’ in front of the mirror naturally consumes that individual’s mind, and this feeling is almost near permanency. But upon facing the inscription ‘YOU and ME’, the viewer is at the point where he can see another side – the realm of the viewer standing as the subject, and glimpse at the other side – the realm of himself being regarded as the object. My interest was to call the viewer’s attention to the adjacent nature of the two different planes. Adjoining the two mirrors served as a tool for revealing such bordering as signified in the ‘you’ and the ‘me’.
Lee Yong Deok artist’s writing
2011
Sharing the boundary in time and space
YOU and ME (1997) consists of two pieces of works that are hung side by side.
One is a frame of wallpaper in which smaller sized frames are laid upon. Framed within each small frame, are photographs of smaller frames: in this way, the sizes of the “frames” become smaller by gradation. These smaller frames lying on top of the wallpaper: the first frame I used is the largest of the three frames that one can perceive visually in perspective (although only the utmost outer one is a ‘real’ frame). Inside the outer (and biggest) frame, I placed a photograph taken of the original frame, then fitted it unto another frame that was small enough to fit within the first. Finally, the last frame was created with the exact same process.
For me the work was about gathering up different times within the same space. The different times upon photographing each image were brought together, with the times forming in rank in visual decrescendo. Simultaneously, the initial real frame exists in having its own photographed images within itself; that is, the real contains its own images. The overall effect of this containment blurs the boundary of each different time. What is intriguing is that the score of time changes in relation to the plane of distance. The beholder inadvertently perceives the register of time as that of distance or depth. It must be stressed that time has not been copied, however; this work is merely an amalgam of time.
The work next to the wallpaper frame is a pair of mirrors. The quicksilvered layer on the back of the oval-shaped mirror is scratched off. After the phrase ‘YOU and ME’ was written on the back, it was glued onto the rectangular-shaped mirror. The viewer comes closer to the mirror and looks at it, and there is his reflection on the mirror. Simultaneously, because of the written words, the viewer, ‘ME’, is led to feel the presence of someone or something that addresses the viewer as ‘YOU’. A sudden awareness of ‘ME’ being ‘YOU’ gives the viewer a jolt.
Every single soul who stands in front of a mirror and gazes at the reflected self-image is capsulated by the world of the subject as contrasted with the objects; there is only ‘I’. The feeling that there being only ‘ME’ in front of the mirror naturally consumes that individual’s mind, and this feeling is almost near permanency. But upon facing the inscription ‘YOU and ME’, the viewer is at the point where he can see another side – the realm of the viewer standing as the subject, and glimpse at the other side – the realm of himself being regarded as the object. My interest was to call the viewer’s attention to the adjacent nature of the two different planes. Adjoining the two mirrors served as a tool for revealing such bordering as signified in the ‘you’ and the ‘me’.
Lee Yong Deok artist’s writing
2011
Sharing the boundary in time and space
YOU and ME (1997) consists of two pieces of works that are hung side by side.
One is a frame of wallpaper in which smaller sized frames are laid upon. Framed within each small frame, are photographs of smaller frames: in this way, the sizes of the “frames” become smaller by gradation. These smaller frames lying on top of the wallpaper: the first frame I used is the largest of the three frames that one can perceive visually in perspective (although only the utmost outer one is a ‘real’ frame). Inside the outer (and biggest) frame, I placed a photograph taken of the original frame, then fitted it unto another frame that was small enough to fit within the first. Finally, the last frame was created with the exact same process.
For me the work was about gathering up different times within the same space. The different times upon photographing each image were brought together, with the times forming in rank in visual decrescendo. Simultaneously, the initial real frame exists in having its own photographed images within itself; that is, the real contains its own images. The overall effect of this containment blurs the boundary of each different time. What is intriguing is that the score of time changes in relation to the plane of distance. The beholder inadvertently perceives the register of time as that of distance or depth. It must be stressed that time has not been copied, however; this work is merely an amalgam of time.
The work next to the wallpaper frame is a pair of mirrors. The quicksilvered layer on the back of the oval-shaped mirror is scratched off. After the phrase ‘YOU and ME’ was written on the back, it was glued onto the rectangular-shaped mirror. The viewer comes closer to the mirror and looks at it, and there is his reflection on the mirror. Simultaneously, because of the written words, the viewer, ‘ME’, is led to feel the presence of someone or something that addresses the viewer as ‘YOU’. A sudden awareness of ‘ME’ being ‘YOU’ gives the viewer a jolt.
Every single soul who stands in front of a mirror and gazes at the reflected self-image is capsulated by the world of the subject as contrasted with the objects; there is only ‘I’. The feeling that there being only ‘ME’ in front of the mirror naturally consumes that individual’s mind, and this feeling is almost near permanency. But upon facing the inscription ‘YOU and ME’, the viewer is at the point where he can see another side – the realm of the viewer standing as the subject, and glimpse at the other side – the realm of himself being regarded as the object. My interest was to call the viewer’s attention to the adjacent nature of the two different planes. Adjoining the two mirrors served as a tool for revealing such bordering as signified in the ‘you’ and the ‘me’.