Post-production is traditionally defined as the final stage of filmmaking—a process of refining raw footage into a finished product. In this realm, 'effects' often feel more real than reality itself. For instance, the synthesized flames and intense hues of a cinematic explosion provide a sense of presence far more overwhelming than a literal recording. We subconsciously measure reality against these mediated images; ironically, it is through these artificial refinement that we finally believe something to be 'real.'

However, I believe that the 'effects' of post-production extend far beyond the editing suite. As I wander through city streets, residential neighborhoods, and lamp-lit riversides, I encounter atmospheres meticulously planned to evoke specific responses. Residential areas are designed to evoke comfort, while riverbanks are choreographed with lighting that aligns with a city’s brand identity. During my time in London, when I was immersed in melancholy and loneliness, I found myself projecting my emotions onto the nostalgic warmth of stranger’s doorways and quiet streets.

Upon revisiting the footage and photographs I took to capture those moments, I realized a profound truth: the solace I felt did not originate from within me. Instead, it was a reaction to the 'mood' precisely post-produced by the space itself. My emotions were, in fact, a response to a fabricated atmosphere. This realization—the discovery of borrowed emotions and the staged environment of our surroundings—has become the central theme of my creative practice.

During my studies in the UK, my daily commute to school led me through the residential streets of Battersea. There, I discovered a sense of comfort and serenity in the homes of strangers—a warmth I hadn't quite felt in my flat. I recall the refreshing vitality of those mornings, standing before someone’s house in the early sunlight; I took photographs of those moments, wishing to remember that bright energy. However, looking back at those mental images years later, the original comfort and peace had vanished, leaving only a lingering melancholy. My internal gloom intertwined with the staged atmospheres of those homes, blurring the boundaries between myself and the other. I have visualized this psychological overlap as an abstract state where the distinction between interior and exterior dissolves. Furthermore, this work serves as a structural experiment, where small fragments assemble one by one to complete the total installation.

작가의 영국 유학 시절, 배터시의 주거 지역을 지나 학교에 갔다. 집에서 느끼지 못했던 안락함과 평온함을 타인의 집에서 느낄 수 있었다. 아침 햇살 아래 누군가의 집 앞에서 만끽했던 상쾌함. 작가는 그러한 밝은 기운을 간직하고자 마음으로 사진을 찍어두었다. 그러나 시간이 흐른 뒤 그 마음의 사진들을 꺼내 보니, 안락함과 평온함은 없고 우울만 있었다. 내면의 우울과 누군가 연출한 집의 분위기가 뒤섞이며 나와 타인의 경계가 모호해졌다. 작가는 그러한 심리적 중첩을 내부와 외부의 경계가 구분되지 않는 추상적 상황으로 시각화했다. 아울러 작은 파편들이 하나, 둘 모여 전체적인 설치 작업을 완성하는 구조적 실험을 했다.  

While commuting between my home and graduate school, I experienced a sense of 'ideal comfort' through the landscapes I encountered. This experience led me to a realization: perhaps I was not perceiving the urban scenery as it truly was, but rather being fed the specific sensations and emotions that the space was designed to induce. These artificially constructed urban atmospheres felt like a staged production following a sophisticated scenario, and capturing these spatial characteristics became the primary objective of my work.

I project footage of urban landscapes onto a project space and drape vinyl over the projection. Materials such as vinyl, wires, tripods, and antennas, which cover the walls and floor, serve as a material substitution for the atmosphere of the trees and sky within the video. Through these materials—chosen for their resonance with the immaterial sensations of the imagery—I seek to visualize the fabricated atmosphere of our contemporary reality.

작가는 대학원과 집을 오가며 접했던 풍경을 통해 이상적 안락함을 느꼈다. 이러한 경험은 작가로 하여금 도시 풍경을 있는 그대로 받아들이는 것이 아니라, 공간이 유도하는 감각과 감정을 전해받고 있는 것은 아닐까 자각하게 만든다. 인위적으로 구성된 도시의 분위기는 정교한 시나리오가 존재하는 무대 연출과 같았고, 작가는 이러한 공간적 특성을 표현하는 것을 목표로 삼았다. 

작가는 도시 풍경 촬영 후 프로젝트 스페이스에 투사하고, 그 위로 비닐을 덮었다. 벽과 바닥을 덮은 비닐, 전선, 삼각대, 안테나 등은 영상 속 나무, 하늘 등의 분위기를 물질적으로 치환한다. 작가는 영상 속 비물질적 감각과 유사한 재료를 통해 현실의 가공된 분위기를 시각화하고자 했다. 

The phrase 'I'm Still Sad' inscribed on a celebratory cake creates a striking inrony, constrating with its overtly sweet appearance. This text serves as a metaphor for a reality where even the most private blessings and pure joys are consumed as commodities. Also, it reflects the artist's own grief wotard this very reality.

축하를 상징하는 케이크에 적힌 문구, I'm Still Sad. 무척이나 달콤해 보이는 케이크와 상반된 텍스트는 그야말로 아이러니하다. 이 문구는 사적 축복의 영역에서 조차 순수한 기쁨마저 상품으로 소비되는 현실을 은유하며, 이러한 현실에 대한 작가의 슬픔이기도 하다.