NOH Kyunghwa

NOH Kyunghwa, #51.3, 2014, Acrylic on canvas, 94 x 90 cm

The core keyword of my work is ‘kinetic’, and the algorithm is formed around the active movement of the viewer. The direction and speed of movement, time, and exhibition space through which viewers freely move between black and white works cannot be explained as individual entities. The speed of the movement can only be explained as an overall wave based on the relationship between time and space, and how time moves and space expands is because the algorithm is determined by the variation of the connections between each element. The gaze here is not fixed but dynamic, where concepts among different plastic art elements are continually readjusted in a relational paradigm, suggesting a fluid totality existing through interconnected elements.

Evolutionarily, our brain does not exist for rational thinking or perception of the world, but is set up to focus on continuing survival by minimizing brain energy consumption.

On the other hand, the kinetic element I pursue is a form of learning in which spectator pay attention, explore, and actively enter the boundaries of the unknown. Once you enter that system, the work looks different and the possibility of thinking differently expands. At the boundary of black and white, we may vaguely recognize something, yet simultaneously experience fresh and unfamiliar situations that arouse curiosity about how things appear differently moment to moment.

NOH Kyunghwa, #9.32, 2017, Acrylic on canvas, 38 x 45 cm

It is very important for efficient viewing to properly control the fine sensors that control when and what content is input and output to the working memory, which combines the viewer’s information.

If the valve from inputs through a network of new imaginative connections remains open, new information from the perception system can enter the working memory and be maintained, thus initiating flexibility in the viewer.

Cognitive control is a process based on sophisticated neural mechanisms. Working memory, the brain’s notepad, bridges and connects gaps in time. It brings about changes in the density of synapses by collecting sensory information through experience and analyzing new thoughts and concepts.

This synapse plasticity refers to the flexibility that can change depending on the stimulus felt by the viewer after seeing the work in the exhibition space. At this time, the more detailed, dense the information exchanged, the greater the flexibility for change. When the input gate is opened through active action, the information in the selected memory will become the context for the movement. Perception and tactile sense activated by formative clues are flexibly combined with logic structure in a gear-wheel configuration, and when various variations are made, we can encounter a fascinating world that is different from the existing black and white.

Song Art Gallery
Acrovista Arcade, 188, Seochojungang-ro, Seocho-gu, Seoul, 06600, Republic of Korea
82 2 3482 7096

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