MOV(I)E / a video installation / 2009

In 1895, the history of a film began along with the arrival of a train. As a running train presented us with the unprecedented images, the film generated the still images to move. In ‘MOV(I)E’, I tested the clash between the movements of trains from the past and the present to investigate the possibility of the expansion of visual perception.

Present and past co-exist in ‘MOV(I)E.’ The different two movements of the different times are expressed contained in moving images of each time. Color, abstract and digital moving images in the present are overlapped on the black and white, and figurative early cinema that manipulated the speed. The movements in these split screen installation endlessly combine a film historical train scene with my own view from the moving train, while a synthesis of a new vision is created through the reflection in the mirror.



MOV(I)E / a video installation / 2009

In 1895, the history of a film began along with the arrival of a train. As a running train presented us with the unprecedented images, the film generated the still images to move. In ‘MOV(I)E’, I tested the clash between the movements of trains from the past and the present to investigate the possibility of the expansion of visual perception.

Present and past co-exist in ‘MOV(I)E.’ The different two movements of the different times are expressed contained in moving images of each time. Color, abstract and digital moving images in the present are overlapped on the black and white, and figurative early cinema that manipulated the speed. The movements in these split screen installation endlessly combine a film historical train scene with my own view from the moving train, while a synthesis of a new vision is created through the reflection in the mirror.