Waterside

2021

audiovisual performance



“The lake is a large tranquil eye. The lake takes all of light and makes a world out of it.
Through it, the world is already contemplated, already represented.”
– Gaston Bachelard






“Waterside” is a live audiovisual performance influenced by the French philosopher Gaston Bacherlard. In his book, Bacherlard proposed diverse material images of water arising from the matter itself rather than from the form as a way of formal imagination. As one of the four classical elements, water has an image of intimacy, flux, birth, and death, etc. “Waterside” responds to Gaston’s poetic approach by using real water as a main material of visual accompaniment. Experimenting with the relationship between audio and visual, “Waterside” uses the physicality of the sound. The visual composition is created by the physical effect of the sound and the water enables us to see this connected relationship. Especially, for the version of Berlin, “Waterside” uses the main image and sound collected from Berlin. The audience will see the city reshaped or reconstructed by the music, specifically through the lens of water. “Waterside” was lively streamed as part of CTM and transmediale’s Vorspiel 2021 at the SoundsAbout gallery. 




Mark

Sik-gu

2020

single channel audio installation



“Sik-gu” is a single channel audio installation, created during the two week residency of the 24/X young artists collective. In korean, “sik-gu” means the people who share a meal together like a family. As the title already indicates, sharing a table and eating together is an intimate moment. Reflecting on the theme of intimacy in the residency, Sik-gu recreates the tea times where Hyewon had an intimate conversation with three of the other artists.





Instead of a person, an audio speaker is sitting in the chair opposite to where the audience will sit. The audio consists of the three people talking about their story but because it is chopped and distorted, the audience can only partially understand it. The audience can hear the voice and part of the conversation but they will inevitably fail to fully understand since the story is composed without the context. Whether the audience relates to the story or not, three people are telling their own story and enjoying tea times. It resembles our communication. Do we really communicate with the person in front of us? Can we convince them that we fully understand what the other person is talking about? Even when one is assured it was an intimate moment, how can one truly know whether it was a two-way communication or just a monologue?




“DIE ANGST EINES ZERLACHTEN SEELENLEVENS”
@ Krudebude, Leipzig, Germany


Mark

Hadori 313-4

2020

2-channel audio, single channel video



“Hadori 313-4” is  a composition for stereo audio and single channel video, inspired by a small rice mill in South Korea. After the Korean War, most of the buildings in the country had to be rebuilt, and postwar development emphasized the new at the expense of people's heritage. This factory is now in danger of disappearing, so I felt that it was important to create a sound piece before it is gone.






All sound sources used in the piece were recorded at the rice mill, with a focus on two sonic attributes: regular machine sounds, and irregular sounds like human movement or passing cars. These two gestures transform over time, from acoustic at the beginning, to synthetic at the end. The video is deliberately off-synchronized with the composition and expressed like a still image highlighting the movement and texture of the place itself. The combination of audio and video reveals the spatial characteristic and enables people to reconstitute an unfamiliar space as own nostalgia. It was exhibited through analogue television as a part of Sonic Curiosities in Berlin.



Sonic Curiosities
@ Villa Kuriosum



Mark

As Above So Below

2018

4-channel audio



This collaboration between Hyewon Suk and Owen Fender was an installation that ran for three weeks in the Chapter House and Undercroft of Wells Cathedral. Inspired by the play of sunlight falling on the Chapter House floor, we used it to control the sound in real-time. This enabled this beautiful space to become more meditative, rooting the audience in the present moment, and enabling a deeper sense of connection. The Chapter House sits above the Undercroft; we composed an 8-hour composition for each space that dealt with themes of polarity, light and dark, good and evil, and attempted to cast aside these dualities to form a unified whole.




@ Wells Cathedral, Wells, UK


Live analysis of the sunlight



Mark

Story of the wild flower

2018

2-channel audio




“Story of the wild flower” is an audio work inspired by the paintings of renowned artist Chuljoo Suk in South Korea. The paintings by Chuljoo mainly express nature and reinterprets traditional Korean aesthetic through his own technique and style with a Western painting tradition. Following his artistic philosophy, “Story of the Wild Flower” reveals the power of nature using sound.

The movement of life starts with wind from nothing. Water leads the viewer to the interior of a dense forest. The vitality of nature returns to nothing following the law of nature, and after the nothing, the music starts again, repeating 10 minutes of a new birth. All sounds of nature used in this work were either recorded or made by Max/MSP. At each moment that the viewer passes by the speaker, they will encounter a particular moment in the circulation of nature. It could be the time of birth, or the time of extinction. The work was originally composed for Chuljoo’s solo exhibition, and it has played in several of his exhibitions.






“Atelier Story” @ Seoul Art Center, Seoul, Korea
Mark