My Dreams These Days: Virtual

drift...
          drift...

Realm of my wandering mind. I could easily get lost in an ocean of thoughts; sometimes I stay afloat, sometimes I drown deeper. The longer I've been stuck at the bottom of the swirl, the more I fear the depths of the void. 

Time to reawaken my authentic self and bring it back.

an audiovisual integration with self-composed music

Two videos and a 3D objects to be shown together in any arrangement or format.
Videos- god addresses her Youtube audience.
Objects- Vehicle and deer. Juggalo goblins.

Composed of a single take, “Incomplete” invites us to traverse an endless choreography of bodies in perpetual free-fall and updating images that reflect a world in constant change.

Through the dual fisheye lenses, the camera creates the two hemispherical videos. The use of the camera is to understand how technology sees, hears, and moves in the world. The camera was kept inside a waterproof bag and was tied to the broken tree stick. It was used as a machine to record, but was treated to have its own body. Each video captures different momentums and contains different sounds.

"Rhythm" is the base of my creativity. It is from a story of history and becomes my own tool to communicate with the world. My passion, heart, and soul in Rhythm study express my abstract idea, such as feelings, emotions, that it is not something that you see in everyday life.
It goes beyond the human experience and talking & interacting with others. It is so much more than a surface level that is so profound, but everyone can relate one sense to another. Many people have a lot of things to say especially when everyone is going through their hard times, and I use my artistic languages to support them in this film.

Currents off the Invisible Shore journeys through a wet labyrinth. Within these psychological topographies, watercycles wash away and distort perception. Its spin creates paralleling, allotropic memories, self contained, like an ouroboros enfolding into its own tail. After countless cycles, the biological circuit recognizes the digital scaffolding that holds up these illusions.

Videos- god addresses her Youtube audience.
Objects- Vehicle and deer. Juggalo goblins.

In the past few months, I have seen the news that the miserable surrogate babies got forsaken by their celebrity parents, the dedicated youngling perished on the job, the low-paid mid-aged delivery driver set himself on fire. 
The alone elders got suffocated on the bed. ​
During this pandemic era, people are being pulverized away in every class-solidified money-driven society. The economists still say that “money is the lubricant for society's operation, which puzzles me.
What kind of lubricant will eventually solidify the operation of the machine?
What kind of Frankenstein will this money-driven society spawn?

"There are no facts, only interpretations." 
-- Nietzsche

Through the positioning of the mask, I manipulated its shadows under artificial and natural sun lighting preferences, and angles of the camera lens, as a way to express a new level of complexity that started from a simple drawing.

I used aluminum because of its stiff rigidity yet flexibility, to represent that a person's perspective is often pre-determined, and can only be changed by a strong outside force. Every person is generally bound by his own mask, a set of personal values and belief filters that impact how he perceives and evaluates the world.

Come Inside, Take Your Shoes Off explores the connection between family members that communicate with existing language barriers. For my immigrant household, the effect of language barriers challenges the means to connect. This depravity forces us to navigate each other and our perceptions in different ways, creating a universal way to explore connection.
In this piece, Google Translate deciphers a conversation between my younger brother and my mother who asks him to “speak Korean.” In my household, Google Translate is a tool used to mediate conversations. Unfortunately, tools like these do not translate with a meaning behind them. With these faulty results, we have to rely on generalizing what the translation means for the other person. The figures in this piece are created by a program that converts a flat image to create 3D models of my family. The results of these models are generalized by the technology, creating flaws in its reconfiguration.
My process embraces the imperfect results generated by artificial intelligence.
I am interested in how technology strategizes desired results similar to the way my family approaches language barriers.

Seven years of bad luck is a 3D video poem that talks about the body and the changes it undergoes when it is pressured by external forces and desires. Whether virtual, digital or tangible, these expectations cause our identity to morph and transform us into a constant performer who can’t rest, trapped in an infinite spectacle of the self that doesn’t allow for rest and closure. The poem is narrated by an AI that duplicates the voice of the artist, enabling her to talk about traumatic experiences without having to use her own voice to do so.