Format: Single-channel video/sound installation ( 4:3 vertical projection )
As my body clinched to the glass of the scanner, I could not help but ponder upon the meaning of distance. “What is the implication of the fleshly distance between the glass and I in spite of our closeness?” “Does any imagery that is beyond senses exist in this obscure space?” Something exists betwixt the skin and the self, I believe.
I was frightened by the detailed imperfections which surfaced by means of the scanner. They engendered my panic toward the absence of my fleshly senses; my anxiety was aroused by the notion of displacement as well. I could not visualize the reflection of my figure produced by the radiation of the scanner, nor could I envision the image of a self that was given to birth by absence, displacement, and the fall from reality. However, I did not minimize or plaster the fissures produced by the distance between the glass and I. Instead, I integrated myself into the fissures by applying materials which are crimson and tangible in order to establish the effect of alienation. Such effect soothed my panic and anxiety toward the detailed imperfections.
Self-Portrait No.2 (RED) is a piece of work that delivers my interest in reproducing self image. It presents the image in movement by collaging thousands of pictures produced by the scanner. The pictures produced in the processes of scanning were the fragments that witnessed the tangible existence and recorded the flashy motions of the image. They also displayed exquisite visual quality of the image as well as its misty yet substantial existence. Delicate digital workmanship was applied in order to reproduce the microsection of the image.