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JEONG-JU JEONG

 

Gaze, Space, Movement

Comparing our eyes to lenses of a video camera is a fascinating thing. What we see through our eyes in a day can be compared to operating a video camera for 16 hours. Considering that number of frames in PAL is 25 pictures per second, we can see approximately 1,440,000 images a day and it is stored somewhere in our brain. And at some point, stored information in our brain is brought out by special ability called memory. But it seems that not all information is stored and remained. Especially when we go back on old memories the amount we can remember is lesser. People say that most people are able remember things from the age of 3, but even such memories are fragmented. In the whole process of seeing, hearing and remembering, unconscious selection process is included. If I take one experiment: you are standing in front of a while wall. And you are slowly looking around the space from left to right. You are able to feel you eyes momentarily pausing and focusing on points. In such a short moment our eyes and brain are automatically doing a selection process. In my work, my eyes are replaced by a small surveillance camera and a movement of eyes is replaced by a movement of camera. As I have mentioned above the process of eyes continuously pausing and unconsciously focusing on the spot where is paused is repeated. On contrast to this, as long as it is not disrupted by outer factors like a mechanical friction it will continue its movement according to its rotating speed and directions.

Impressions on Empty Space

The spaces within my work are created based on the actual spaces from my daily life or where I’ve been in. The inner spaces of the models are totally empty. I feel more excitement from empty space than space full of furniture such as desks, bookshelves, and closets. Clean vacant rooms after moving, small stores waiting for the new owner, empty gymnasiums, and long corridors and petite rooms with windows that once may have been operated as a hotel. When I step into these empty spaces, I can concentrate on the space itself that I may have neglected in a daily routine. The size and positioning of walls, ceilings, windows, and entrances reveals each space’s character itself, which creates the space to appear as “organic” creatures like cells. They expose themselves to light through windows during the day and reflect the light during the night. In addition, they expose themselves to the external views while also reflecting them.

Summary

In my work, spaces of models to real spaces and mechanical movements of camera to people's movements are compared. Camera’s gaze is also compared to people’s gazes. Space in models, camera, and camera’s gaze can be seen as models of mechanically changed reality. This model is sometimes observed by people in the real space, but through a camera operating as a part of organic model people in the real space is observed. And sequences observed by the camera are brought out by people in the real space once again. Through the process I find an endless circulation of subjects and objects, and ‘observation’ and ‘being observed’ in my work.