| RC |
| born : busan south korea, live and work : london, uk |
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| DOWNLOAD ronincho_CV.pdf |
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| Statement |
| WRITTEN IN DECEMBER 2010 |
I have a background in graphic and interaction design, which culminated in 1st class honours in 2009 from Central Saint Martins, University of the Arts. Currently I am on an MFA in Computational Studio Arts at Goldsmiths. In both situations, I have been driven by a keen interest in how one's ideas and experiences can be communicated to others on screen and off. I have enhanced my skills and concepts to explore the relationship between kinetic sculptures and media art by investigating the benefits of using technology and traditional media, including craft.
Inspiration for my work comes from being open minded and taking into consideration the varying perspectives, as opposed to just one or perhaps just me. Through my work I aim to challenge the audience to interpret an idea by accepting the fact that not everyone thinks as they do. |
| Art and Technology |
| In my dissertation, 'New Media Art and Its Current Position: Critical view on new media art and its position related to mainstream art world' (2010), the discussion was about using technologies in art. This theme is one of the considerations within my practice. As society evolves by increasingly adopting new media into everyday life, art should increasingly reflect this progression to remain relevant. The practical application of technology can support the creation of art or be a central component to the formation of it. |
| Thoughts on craftsmanship |
| My current work is strongly engaged with traditional craftsmanship but it contains computer-driven kinetic parts. In order to make these mechanical parts work, a certain level of precision is required. In the early development stages, I use computer programs to visualise and simulate ideas. Later, in the physical fabrication process, the construction is guided from the blueprint developed previously. Although the blueprint is a sterile computer-aided material, the handcrafted fabrication methods used in creating the physical work; includes cutting, carving and sanding which facilitates the artist's signature. It's an incalculable process which implements certain estimations built on a personal interpretation, experiences and an understanding of the materials. Although the physical response of the materials in my hands is simple, this activity facilitates the complex relationship between the work and mysef. |
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