About
From a visual point of view, my work puts 'beauty' first. A work is truly completed when the audience looks at it and considers its meaning, because beauty plays a role in attracting people in the process of expressing the meaning of the work's existence. Fashion is also a major source of inspiration. Among them, it adopts elegant and sophisticated images that can be seen in the high-fashion world as a reference. It is especially inspired by the works of the Beast, led by Henri Matisse, and fashion artists such as Miles Aldridge and Malika Favre. The above artists' works contain sophisticated color combinations, elegant gestures, and silhouettes.
Besides fashion, one more thing I'm interested in is Suin. Suin, a character with a human body on the head of an animal, strengthens the wildness that is difficult to express in human form. However, it can look rough or aggressive, so I want to captivate the audience with a wild beauty that contains elegance and beauty by combining it with a fashionable image. Finally, the narrative is also not to be missed. It combines four elements: a subtle and thoughtful person, conflict, worldview, and time, and creates an object that moves vividly by moving back and forth between the video and the plane.
First, people. When you design characters, you design them as "human" as much as you can. Because people are not interested in what non-human beings think and do. Even while personifying non-human beings, they try to explore human thoughts and actions. The characteristic of human beings is that they have stories, emotions fluctuate complexly and subtly, and thoughts cannot be read. So at some point, you're bound to do something unexpected that you can't understand. I design characters by reflecting these human characteristics.
Second, a conflict case. When designing an event, ensure that conflict occurs. There are two reasons for this. First of all, as the saying goes, "Watching fights is the most fun," conflict is fun, and I like to make interesting stories. And conflict is a good device for showing a character's personality in three dimensions, promoting a person's personality change, psychological change.
Third, the world. It would be awkward to throw a person I designed into the world we live in. Because the figures that I designed and the people who live in this world are made in different ways, and the world is made according to the people who live in this world. So in order for the characters I create to look natural, I have to create a new world for the characters I create and let them live in it. The characters I designed can only seem to be "living and moving" when they move within a world customized for them.
Finally, time. For example, I'm a very elaborate figure. My thoughts are complicated, my emotions are fluctuating, and my stories are overflowing. I've had a lot of incidents and conflicts. And I live in this world that is customized for me. And all of a sudden, the time of the world stopped. Then I'm not living and moving alive. It's no different than a corpse. It's dead. It's the same with the characters I made. No matter how elaborate it is, if it stops, it's dead. There are many ways to make the figure look alive, but the simplest and most effective is to give the painting time.
The narrative is the art of time. This is because over time, characters move, conflicts arise, and the world is revealed. So I mainly use media such as animation and robotic art. In the case of these media, the image itself moves, so you can intuitively give it time.
On the other hand, in the case of illustration work, the image itself is stopped, so instead of the work, the viewer's gaze is moved to create time. Focuses on the entire screen, not on one part of the screen, and puts the narrative in every corner. In order to read this hidden narrative, the audience's eyes draw a long line of movement, and by keeping consciousness on one screen for a long time, it gives the work time.
I'm not trying to convey a lesson message through my work. I'm not a philosopher who has reached the moon. I don't want to dare teach the audience. The only thing I have in mind when I think about the story is that I don't want my narrative to be a refuge from reality. So it's not an illusion, it's a reality. It's a stark representation of the lives of melancholy characters. It blurs the distinction between good and evil, and cuts off the ending in a dull way. If the audience asks questions about an individual's life and society while watching my narrative, I'm satisfied with it.
