PIXEL SERIES
The Pixel Series originates from images produced through human relationships and lived experience, yet it does not seek to preserve or reproduce them. Instead, the work turns toward questioning what remains when an image can no longer exist as a complete representation.
Within this work, the image gradually drifts beyond recognition. It no longer securely points toward a specific subject, person, or event. Some images disappear, while others never fully arrive as images at all. Nevertheless, they persist as unstable and incomplete states.
At this point, the pixel is not merely a visual effect or a digital unit. Rather, it signifies the minimal condition an image reaches when it can no longer sustain itself as stable representation. A pixel is not simply a point on a screen, but a state in which the image remains unresolved—suspended between appearance and disappearance.
Some images disappear through loss, while others remain suspended at the threshold of becoming. Certain images exist only as partial exposure, occupying the unstable space between exposure and representation—much like the frames found at the beginning or end of a roll of film, carrying the material trace of an image without fully arriving as one.
Ultimately, the Pixel Series is not concerned with producing or restoring images, but with tracing the unstable conditions under which images persist, collapse, or fail to fully emerge. What remains is not the representation of a subject, but an image suspended between visibility and disappearance.
We continue to accept damaged or partial forms as belonging to their original work. Even when form collapses or parts disappear, we do not necessarily deny them their status as images.
If this is so, how are we to understand those that never fully arrived as images in the first place?
What becomes of a frame that shares the same material and time as others, yet remains suspended at the threshold of becoming? Can an image that carries exposure but never fully reaches representation still be called an image?
Are disappearance and incompleteness truly outside the image?
MOVIE
I make movies with photographic images. If cinema constructs narrative through sequences of connected images, my work has sought to build the flow of time and relationships through image sequencing and the structure of the book form. My earlier work centered on love, human relationships, and the problems of memory and deletion. Through repeated experiences of photographing and deleting, my attention gradually shifted from producing images toward questioning what remains after they disappear.
Movie extends from this trajectory. The work engages with images generated through love and relationships but can no longer exist independently. Rather than treating deletion as a simple absence, Movie investigates how images may be reorganized and connected within a new structure.
Constructed through the rearrangement of thousands of digital images using code and algorithms, the work transforms individual photographs from self-contained images into frames within an expanded sequence. As images connect with one another, they partially lose their original meaning and legibility. What emerges is not the preservation of individual images, but shifting visual structures and relationships.
In Movie, images do not remain as fixed memories or isolated scenes. Rearranged across different times and emotions, they lose autonomy while simultaneously operating within a new visual order. The work therefore does not seek to restore or preserve images, but to explore how they may be redefined through sequence, structure, and relationships after disappearance.
