Through such imagination, I expressed the story of stolen time in still-life. T’ao Ch’ien (365~427), in his book Dowahwongi(A story of Peach Blossom Spring – The locus classicus of the timeless paradise) mentions utopia is not easily accessible. The story is briefly about a fisherman who got lost, he arrives at a town in full-blown peach blossoms. There, he finds the townspeople wearing old clothes and living peacefully. The people ask the fisherman “which period are we living in now?” They all came to this town after escaping from war and it was a place completely isolated from the outside world, thus the ‘time’ did not exist here. The fisherman returns home and he tries to visit the town again but he could not find the place until the last day of his life.
In fact, the story about Oriental paradise connotes indirect revelations about the present time. The author experienced the horror of war, which he reflects the pain caused by political and social turmoil of such period in this story. I imagine the ‘frozen time’ through the objects and situations in real life. Also I had difficulty understanding death, thus if there is an afterlife space and that place is “paradise,” then I can slightly understand why there are sudden “disappearances.” This is why I work that the object about time of Oriental paradise. I took the pictures that I initially drew, printed them out and did the drawings again on top of these photos. I believe photography is a past medium that always captures and keeps the moment.
My work represents that “today” is ultimately a never-ending “dialogue with the past.” I intend to give a new name to the objects traditional meaning of still-life and my paradise (infinite time) are inter-connected. To me, a combination of painting and photography is like blending of still-life and paradise. Also, merging the still life with the life after death is an area I need to expand in my own story when I encounter space (in Berlin).
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