Kim, Bum-su作品

 

Starting from the ambiguity of mass culture, my work deals with the process of searching for my "HIDDEN EMOTIONS" and explores the conception of time and space isolated within mass culture. It has emerged from establishing my work through various cultural experiences and open mind, and shortening the distance intervening between those cultures and me. Such an articulation of originality and an activity to draw out hidden, natural emotions through the restless struggle against everything have been central motivations in my artwork. 

I aim not only to revive the forgotten or dull sentiment of the Bruce Lee generation, but also to dream about the possibility of a new kind of communication with later one. They mean to stimulate the sentiment and nostalgia of the modern man who has been being paralysed all the more for the ongoing excessive amplification of emotions, and to arouse compassion with and romanticism of the reminiscence of what have disappeared into the past expelled by extreme fineness of digital culture and continuous fluidity of the image world. But what I want to do indeed is to make the two generations, those of analogue and digital, come closer to each other in respect of culture and to rediscover the hidden feelings between them by de-, and reconstruction of visual art in virtue of new artistic experience, as a distinctive medium which has its own ways of expression totally different from those of traditional forms of paintings and sculptural fine arts, and films. 

Recently, I have worked with one theme. The series under the title of "HIDDEN EMOTIONS" are a set of experiments and investigations about the potentiality of material in relation to an interaction of light and matter. They start with reassembling many kinds of films which were already put on the screen or fell into disuse whether live film, documentary, or black and white one, and then proceeding to introducing an artificial factor of light and combining the dynamic flow of light and the static image in films, leading to reconfirmation of vitality of film images. In this process, we can say that the film images are transformed into plastic language, and thereby ultimately into fine arts. Such a result can be achieved through the act of discriminating the techniques of fine art and those of film or video, which signifies reediting my emotions and imaginations on the new images created by cutting, pasting and rearranging tapes making use of flatness and transparency of film, say, commanding the language of fine arts. In this way, my work can express what I think art is breaking from the context of films. 

There exist many stories in the state of stillness which have diverse histories, backgrounds, and people in my work. The condensed memories contained respectively in 35mm, 16mm, 8mm films will grow into a new kind of aesthetic language; the contents of them will be reedited according to the communication with me, and become inhabited in my language finding a new realm, where I would like to discover my hidden emotions.