comment 0

You don’t know me but I know you (2013)


Majority of artistic practice that explores surveillance looks at corporeal issues of identity, utilizing images and footage of people. In focusing on the most prevalent arts practice, art historical criticism has not been able to test these new theoretical ideas about identity on artistic works that engage more fully with the complex, modern conceptions and issues of identity. This work, I used Kinect camera and computer programs. It can take photos of the audience if they close their hands together. The camera will focus on audience face, and collect it as data resources as well as shows it on the screen. Since my works collect face as data, I would like to give it as feedback to audiences. People who wave the hand in the area will active program to change the faces on the screen. Audiences have a chance to explore people who have been recorded through wave their hands. The behavior I selected is to depend on my personal interest. Any type of expression and participation requires some form, which must be widely recognized and accepted by the public. The reason why people would like to do this is a way of understanding of individual existence and the found the occurring form. For me, it is a relationship between authority and individual. Even is a resistance between power and autonomy.

You don’t know me but I know you (2013) .JPG

You Don’t Know me But I know You, London, 2013


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s