In this age of globalization and rapid media transmission, the introduction of a new surface image can very well result in a new stage and identifications in life. Because of the massive volume of media output which suffuses the contemporary society of information, the real body living in real space is no longer the only reality; on the contrary, only a hybrid product can embody what this age sees as completeness. When one looks at oneself in the mirror, the image one sees has already been captured and footnoted with self-acknowledgement from a virtual electronic transmission. A new century, with its new idols, is but an interface of tele-information, and those of us with real-life bodies are only another kind of interface prone to compatibility. This mutual compatibility is the truth of the new century; as reality is covered by simulation, and simulation overlaid with reality, the relationship between the two is impossible to separate or clarify.

The photo series borrows from the images of animation characters, layering a light of projection like a thin membrane of image over the artist’s washed-out body. The light-produced image and the human body in real-space are joined and blurred in the same instant, the body of flesh and bone mixes with the medium of light, and we begin a kind of spatial overlay conducted within the framework of everyday life and the informational network of popular culture, a new type of mutual integration and performance. As we are dependent upon (and feeding from) the nutrients offered by the speed of electronic transmission in order to conduct the recreating of new life. Such a transactional action of replacement creates a “new hybrid.”