Seyoung Ok
Seyoung Ok
Embedded Files
Korean language
Seyoung Ok graduated from Department of Fine Arts at Korea National University of Arts with a Bachelor’s degree in Fine Arts and is currently taking a Master’s course in animation at the School of Film, TV&Multimedia. Based on animation techniques, the artist works with virtual situations as materials that could occur behind certain objects or experiences using various media such as drawing, photography, installation, and video. Based on the observed objects or situations, the artist has explored the movement itself somewhere between the daily and non-daily, or has created stories by comparing the properties of objects to people’s lives. Recently, by diversifying the way a video is projected, the artist has tried to expand the different situations that affects one another, having one mediating event, to spatiotemporal experiences. Also, the artist seeks to expand the methodology of showing media in the gap between screening and exhibition, and is studying how thematic consciousness such as daily life, contingency, story, memory, and action come to have a relationship with the audience.
Pop-up Research
As an extension of my longstanding interest, I aim to explore the aesthetic pleasure that can arise when the pure form of objects encounters animation-like frame transformations. I've been intrigued by the serendipitous moments that occur when intangible or indistinct forms interact with the human body. One of the materials born from these considerations is 'tissues.'
When our hands grasp tissues and pull them out, various shapes emerge, each unique to the individual. I perceived these shapes as transient microcosms, akin to the serendipitous coalescence of the unconscious actions of humans and the intangible nature of tissues. It's as if the accidental shapes of the tissues have taken on a life of their own. I wondered, where do these shapes come from, and where do they disappear to, fading into oblivion within people's memories? This became the central question of my exploration.
To address this, I've embarked on creating moments where these images gradually "grow and acquire diverse forms" through stop-motion frame manipulation and drawing animation. In this exhibition, viewers will discover the hidden strangeness that exists between everyday objects and their own lives.
Focusing on the accidental forms that arise when humans and unconventional materials intersect, I've conceived two main approaches for my work: animations created using various stop-motion and drawing techniques to capture the diverse forms of these shapes, and interactive media works that respond to the audience's actions.
Work Process
1. Research on the origins of facial tissues
During World War I, Yuhan-Kimberly produced substitute materials like cellucotton, gauze, and cotton. Following this, they introduced disposable facial tissues under the brand "Kleenex." When it didn't receive a favorable response, they used the slogan "Don't put a cold in your pocket" after observing people putting handkerchiefs with cold germs in their pockets. By promoting the product as a replacement for traditional handkerchiefs, sales increased. In 1928, they adopted pop-up packaging for Kleenex.
In 1931, paper towels were introduced, followed by the creation of the first portable facial tissues in 1932. In 1949, lens-cleaning tissues were developed, and in 1955, napkins were launched. In 1980, scented tissues called Softique were released, and in 1990, three-ply tissues like Kleenex Ultra were introduced.
2. Direction of the work
In this project, I pursued two main approaches, aiming to explore the gap between them:
1) Cinematic approach (Single-Channel Video)
- This method involves using a cinematic narrative to create a one-way viewing experience for the audience.
- Through a sequence of drawing images cleverly concealing the fact that they are tissues, the narrative builds up, and in the latter part of the video, the true identity of the tissues is revealed, aiming to provide the audience with a twist and surprise.
2) Media façade approach (interactive media installation)
- This method involves creating an artwork where the captured images interact with the audience.
- Multiple channels project large-scale drawings of tissues onto a wall. As the audience interacts with images on an iPad (or by touching the drawn images), the appearance of the tissues on the wall changes accordingly. Viewers explore serendipitous images through tactile engagement with the artwork.
옥세영 Pop-up Research
single channel video 4min
19sec 2017
옥세영 Pop-up Research
interactive media installation
2min 37sec 2017
Animation Work
For the animation work, I will follow the conventional cinematic approach. The narrative builds up, and the emotions of the audience change over time. The key is to place scenes in the video's early stages where the shape or identity of the images is shown ambiguously for a relatively long duration. As the images intensify, the latter part of the video reveals the tissue's shape. Utilizing temporality as a device to maximize the moment when the accidental forms of tissues appear unfamiliar is essential.
1. Line/shape drawing experiments
There were several experiments regarding whether accidental shapes would be expressed through lines or colored shapes via frame transformations or if I would use a stop-motion animation approach by manually moving the tissues themselves.
2. Experiment with transforming the shape of the tissues and frame manipulation, including playback
I experimented with tearing tissues by hand, cutting them with a knife or scissors, and then playing these actions in reverse. It felt like capturing the "birth of tissues." I tried to break down the intervals of cutting tissues into finer divisions, but it didn't prove to be more beneficial. Instead of cutting them minutely, it might be better to showcase a variety of clusters, creating an image akin to an ecosystem. While cutting or altering tissues, I introduced various movements by using hands, scissors, and wires. Rather than unifying these three methods, it seemed more suitable to mix different forms within the video.
When implementing images in the video, it's important to consider both camera work and lighting. Images without proper lighting may not have a significant impact in the video, and distinct details may not be clearly visible. Consider placing a turntable beneath the tissue box and move it around while taking photos. Ultimately, I would have to aim to combine the growing movement of the tissue itself with drawings that emphasize the surfaces inside the tissue.
Interactive Media Installation
The shapes of tissues stem from people's subconscious acts of pulling them out, focusing on the sculptural acts that occur naturally in daily life. Rather than directing viewers artificially, I aim to create an installation that seamlessly integrates into the interaction process. I hope it resembles traces left behind by human trajectories, much like the way we unconsciously leave marks as we move about. This interactive media installation will be placed in underground passages or dimly lit areas where people walk unknowingly. It will respond to people's footsteps and play random tissue images. The intention is to provide viewers with an experience of encountering various "artificial gardens" born from their own actions.
1. Storyboard
Tissue images will be played according to people's footsteps. The image where a person is positioned will be the largest and play for the longest duration. Images that have already passed will play in reverse and disappear. When standing still in one place, a random tissue shape will repeat for the duration of the viewer's presence. When viewers start moving, the images will play in reverse, gradually fading away.
2. Research on various technical methodologies
1) Interactive work using ArduinoThe process involves sensors detecting a person, sending signals to the mainboard, Arduino detecting the input, reacting according to the coded instructions, and finally changing the output display. I attempted various technical approaches using different sensors such as ultrasonic distance sensors, magnetic sensors, microphone amplifier modules, and light sensors. However, voltage issues led to errors in measuring and splitting the power supply. I considered purchasing a power supply unit to resolve this issue but realized that I had incorporated too many sensors and narratives into a single project. We then went through a process of refining the work to have a clearer narrative and essential, suitable technical elements.
2) Kinect Skeleton TrackerThis device recognizes something appearing within a specified range and triggers video reactions. It uses depth for recognition and has an effective recognition range of approximately 4-5 meters.
3. Implementation processDuring the project, I encountered issues when increasing the variety and quantity of images. The hardware couldn't handle the load, resulting in no output or extremely slow image playback. I went through a process to ensure that the animations displayed smoothly when multiple random images were generated. Ultimately, seven different random images are triggered in sync with a person's footsteps.
1) Interactive work using ArduinoThe process involves sensors detecting a person, sending signals to the mainboard, Arduino detecting the input, reacting according to the coded instructions, and finally changing the output display. I attempted various technical approaches using different sensors such as ultrasonic distance sensors, magnetic sensors, microphone amplifier modules, and light sensors. However, voltage issues led to errors in measuring and splitting the power supply. I considered purchasing a power supply unit to resolve this issue but realized that I had incorporated too many sensors and narratives into a single project. We then went through a process of refining the work to have a clearer narrative and essential, suitable technical elements.
2) Kinect Skeleton TrackerThis device recognizes something appearing within a specified range and triggers video reactions. It uses depth for recognition and has an effective recognition range of approximately 4-5 meters.
3. Implementation processDuring the project, I encountered issues when increasing the variety and quantity of images. The hardware couldn't handle the load, resulting in no output or extremely slow image playback. I went through a process to ensure that the animations displayed smoothly when multiple random images were generated. Ultimately, seven different random images are triggered in sync with a person's footsteps.
Epilogue
Throughout the project, I constantly questioned whether there was a clear and intrinsic reason to lead the work in the direction of interactive art. I wondered if we were taking the work in various ways beyond what was necessary when trying to lead it with a single source across different media. It's essential to take time to consider whether technology might interfere with the core narrative of the work rather than enhancing it.
Furthermore, in interactive art, I realized that my imagination operates only up to the level of technology I can currently use and the general methodology of the technology I know. Media artists would greatly benefit from not only conceptualizing their work but also learning the language of technology, making it easier to communicate effectively with technicians when outsourcing is required. Producing an interactive media installation with the assistance of the Center for Art Convergence was my first experience in this area, and it significantly reduced my technological apprehensions when creating responsive artworks. I have since completed a solo exhibition based on this work. I still have regrets that I couldn't install it in a space other than a white cube, and I hope to explore this opportunity if it arises.
Report abuse