N/A Gallery is exited to present Unsupported an exhibition that can be understood as simply as a type ofdis(tancing)- appearance made possible by and out of a prolonged proximity maintained between entities, materials and/or processes. Prolonged proximities that produce—both inside and outside an aesthetic lens of appreciation—the ability to ignore, by way of being offered a clarity and abundance of discrete visual information, be it the ever refining resolutions of digital photography or the continued currency found in trompe l'oeil. Fiona Burke and Songyun Kim enable a more or less complete visibility which the viewer renders further, and in a further rendering, creates a workable reduction that emerges as a partial image(opaque facticity turned into discrete knowledge).
This notion of partial plays off all three of its possible meanings, namely having a particular liking or fondness for something or someone, that, by nature of its sentimentality(a form of bias or prejudice), relates to being or affectation only in part, not total; incomplete.
Utilizing photography, painting, and the redacted history of the exhibition's design iterations, the proposed exhibition aims to be a space and non-space, repeatedly punctuated with interactions that utilize the differing relations made between the legible, the visible and the visual.
It cannot be stressed enough that both Fiona Burke and Songyun Kim engage with visual information that both builds from and off of various levels of visual literacy, which already admits that experience is eclipsed simultaneously with the production of knowledge, by way of the visual being converted into the the legible. In addition, both Burke and Kim do little to resist the visibility of their work in general, namely that they allow their work to be clearly visible and bracketed from the interference of antagonistic actors(for example seeing one of Kim's photographic images hung in a preschool classroom).
Levels of literacy play even more contrary in Burke's case, employing, as she does, techniques of trompe l'oeil. What starts off as an engrossing attentiveness(to an extent where the presentation bleeds into a presence in space), rapidly loses all such attentiveness in favor of a discrete unit of visibility. In short, within the pains of bending the visible into the visual, the visual turns into just another visible, taken with the same regard as seeing, in the case of this exhibition, actual tape on an otherwise indefinite color field. This doesn't even take into account historical depreciation of trompe l'oeil, which itself as a classification has taken on increasingly negative coding. Over-coding to be more specific, as the entire enterprise of looking at trompe l'oeil is managed by way to distributing the classification into the singularity of sighting the visual information. Today this type of painting has found its most popular engagement in the interference of the everyday(sidewalk pits for tourists to avoid), rather than the contemplation of the gallery.Text and Curation by Darren Tesar
Fiona Burke와 김성윤의 작업은 디지털 사진의 해상력과 트롱프뢰유(trompe l'oeil), 그리고 하이퍼리얼리즘를 통해 명료한 시각 정보를 제공함으로써 역설적으로 특정한 해석을 유도하지 않는다. 보는 이의 관점과 취향에 따른 편향된 감상에 (설령 그것이 작업의 가치를 곡해하더라도) 초연하며, 궁극적으로 가시적, 시각적, 그리고 지각 가능한 요소의 상호작용에 대한 담론을 이끌어낸다. Fiona Burke는 역사, 기억, 재현에 관련된 회화적 문법에 관심을 가진다. 기계적 재현의 기법으로 인식되어 현대미술에서 자리를 잃어가는 트롱프뢰유 화법으로 재현된 테이프, 티브이와 같은 일상적인 오브제는 객관적-가시적 성질이 강조된다. 반면 무한하고 추상적인 깊이로 묘사되는 색 면은 지극히 시각적인데, 이들이 순차적으로 지각하고 반복되는 과정에서 생성되는 긴장감이 캔버스의 물리적 경계까지 스며든다.
한편 무작위적으로 촬영된 듯한 김성윤의 이미지 공간에는 반복적이고 끈질긴 정제과정으로 완성된 특유의 절제 혹은 무게가 더해짐으로써 중립적-가시적 재현과 의도적-시각적 표현의 영역이 중첩된다. 시각적 문해력(visual literacy)을 요구하는 그의 이미지는 관람자의 분석력에 따라 지각 가능한 음절이 늘어나고 우리의 인지 범위의 공통점과 한계를 상기시키는 성찰의 기회를 제공하지만 그렇지 않은 경우 역행적인 모호함으로 다가오기도 한다.
이렇듯 닫혀있으며 동시에 열려있는 이들의 작업을 기획자 Darren Tesar는 자신의 능동적인 공간해석의 흔적(검은 사각형)과 함께 존재와 묘사의 경계가 불분명한 공간, 혹은 비공간으로 연출하려 한다.글, 큐레이션 Darren Tesar
