When the fluid movement of the human body is replaced by the mechanical movement of sculpture, and naturalness is transformed into artifice in a single moment, how can artificial movement demonstrate dramatic and performative capabilities?

 

In his 2016 performance "perfect match," Hkason showed two objects circulating and intersecting. In 2022, he performed "In - between Gesture," which explored the spirit of challenging the physical resistance of sports through postural correction and the act of dislodging a living organism - a body and mind pushing its limits.

 

While his previous work has created wearable sculptures that respond to the human body's movements and devised ways for body movements to be fully transferred to other forms, in this exhibition, Hkason experiments with the process of kinetic performance in which the sculptures themselves become sensitive and responsive to humans.

 

Gametophyte conceals and reveals the continuity and transience of a constantly flowing space through the projection of mirrors and the blocking of doors, while the rippling of water, the graininess of light, and the dissipation of fog create moments of climax, tension, and emergence through performance.

 

The installation, which performs face-to-face, reveals an ambivalence that combines forces, balances and confronts. The ambivalence of the installation, which is both performer and stage, begins with the massive skeleton of the holder. It offsets the inherent convenience and functionality of the holder and creates unexpected combinations of disparate materials and interlocking substrates.

 

This creates multiple layers of shapes, exaggerating or obscuring contours, and confusing relationships.

 

In his work, the physical acts of putting on, taking off, entering, and fitting are expanded to make them appear different in nature and form, overturning the existing language of sculpture and creating new ways of substitution.

 

At the turning point when the audience enters the space to view Gametophyte, the moment they pass through the door, the afterimage of the motion sensed by the machine is transferred to the performance that occurs through the waves of water. Gametophyte, which refers to the stage of plant evolution before fertilization, began here.

 

Gametophyte refers to the stage where the male gamete and female gamete, which exist separately, are fertilized and move into the next cycle. The process of dividing to change generations and reuniting is a process of reuniting. Just as the gametes are opposed to each other, the installed sculptures and the visitors who come to view them are actually united.

 

The relationship of the sculpture's movement, realized through human mobility, is reminiscent of the gametophyte process in which plants produce male and female gametes for reproduction. Facing the door and transmuting into waves of water, human mobility is like a lover or an antagonist responding to each other's senses and presence.

 

Just as the ever-present 'I' is established in the presence of the ever-absent 'you', the viewer and the sculpture are completed in each other's presence. Just as love is not reduced to a word but is completed in a relationship, ATOPOS, which exists through absence and is completed through absence, is realized in the real world, the exhibition space.

 

Hakason(b.1988) graduated from Kunsthochschule für Medien, Köln School of Media Art. He notes, dissects, and recombines elements of the entity, noting the difference between the inside and outside of the human body, objects, and spaces, that the transition from one change to another. These elements are related and connected to each other, and the switched state has a variable temporaryity. This appears as a new narrative or image through temporary actions and derivative actions that take place in a specific space and situation. He was selected as an art science writer at the Busan National Science Museum in 2022, and participated in a number of art exhibitions, including Gori Tail (Bukgu Art Creation Center Ulsan), RTA Evolution performance (Taryeongyeogujeongguk, 2022) the first science (museum of Busan, 2022), Zero One Day Pickle City Dive (Yalu collaboration , 2022), and A community of art to a certain extent (Ulsan Museum of Art, 2022), Zero Breeze (Seongsan Art Hall, 2021).​