Byun Jae-kyu
2021
사진측량
Byun Jae-kyu
I happened to take a picture after encountering a storage in Suncheon Bay. I thought it a salt barn and approached it, but it was a very different one from my expectation. Perhaps, does not memory have such a quality? Men want to see what his shades of memory create. I thought myself a sort of trajectorization in order to describe a process of consciousness. The process of the work production is to make it conceivable as a thought process what the relation between I chasing memories and another I observing it means. It is described that on the axis of time the flow of film forms an ambivalent structure of consciousness and then it gets to have a trajectory, consequently revealing such an antinomic structure. That is, the gap between the filming action to confirm the realization of substance and its picture shot in the scene show that the memory cannot be identified with its object in the subject.
Photographic Survey
또 하나의 소실점
Byun Jae-kyu
Byun explores the disappearance and creation of spaces through continuous movement. The principle of perspective is seen as a vanishing point. In this work, vanishing points of photos are moved to one vanishing point in the frame of the video. Similarly, a landscape’s multiple points of view are conveyed as a 360‐degree globe form of time and space.
The Study of Another Vanishing Point
925장의 부산타워
Byun Jae-kyu
Taking pictures frame by frame with labor is similar to 'mediation'. The piece of memories and nostalgia about ‘Busan Tower’ which is the symbol of my hometown is getting dim while I click the shutter of the camera. The emotion that comes to the climax when I started to take pictures have reached '925' and is close to '0' when I finished shooting the 925th photograph. At that time I experienced that the mass of emotions faded out. Now it remains just 925 pieces of still‐cut which is the trace of memory playback.
925 Pieces of Busan Tower
무빙파노라마
Byun Jae-kyu
I wanted to introduce the march of time using panorama film in this work, which is different from the still panorama photos. First of all, I made an equipment, which automatically turns 360/, to obtain the photos with regular interval. After that, I put together all those still panorama photos as a sequence, which is like another panorama. When it comes to music, O distorted real sound and created some regular electronic noise to emphasize the camera work. The spots I shoot the film are Busan and Kyoto.
Moving Panorama
