Title: Abstract Cube
Created in: March 1st, 2017
Medium: Canvas Fabric & Bubble Wraps
PUT THE SHOES ON
WALK OUT OF YOUR BOUNDARY, YOUR SPACE
Are you an operator (activator) or an observer?
Invited by the tactile appeal of the bubble shoes, the viewer is walking out, instead of entering in, to the other side of the screen, as they put the shoes on. In Abstract Cube, the viewer metaphorically experiences the life phase of a painting through sequential interaction with the materials, from its birth with canvas fabric, the marks of paints, and finally to the entire image (the group of human-like figures), and thus become united as a single unity. In that, Abstract Cube is an attempt of deconstructing the physical dimensional boundary of a painting and the role of spectators, for another birth of reconstruction. In essence, Abstract Cube questions the physical spatiality that a painting can possess in society, thus complicates the relationship between 2D and 4D. Were we to call our world as space where time resides in, an artwork is a different type of space where ideas reside in.
In the Abstract Cube, the role of spectator changes depending on one’s position with respect to the given space. From a distant, the vision of a painting on the wall, shown through the fabric, replicates an image of a large-scale painting; thus provides a casual experience of being a “viewer”. Once stepped into the created space, the viewer becomes an “activator” who operates, yet unwillingly, the work by adding their impulsive gestures, triggered by the bubble wrapped ground. The overwhelming size of the painting is intended to lead the “activators” to less focus on the entire image, but more focus on their interaction with the sound or tactile sources. By doing so, the activator's four-dimensional and spontaneous gestures are added on to the spontaneous 2D style of paint marks. That is, in the eyes of the “viewers,” the emergent of the activator's humorous movement is merged into the particular style of this figure painting, and thus activate the stylistics of the painting as if it is a real-life 4D form on a flattened, 2D screen.