In this series, the narrative in the paintings is entangled with time and space. Referring to the narrative paintings throughout art history, I seek to challenge the narrative role in my works. Here, by bringing the paintings out of the canvas and expanding them into space, the logic of linear narrative collapses. Just as the narrative sequence gets disturbed in the stream of consciousness, the temporal and spatial logic is lost in my paintings. In the space created for the audience, I try to encourage them to wander around the works—an invitation to a playful and incomplete reading through an exploration that requires repeated effort. It is impossible to reach a correct reading of the narrative here because the narration has been inadequate from the beginning.
Inadequate Narration
In this work, mathematics and geometry, and Maryam Mirzakhani's theory of counting simple geodesic on hyperbolic surfaces, which has inspired the development of this form, have been used to challenge the nature of the narrative image- to make a straight line, make its way around a circle and pass through two holes in the shortest time. In this work, the line gives way to the narrative, which proceeds its way in a long linear continuum and returns to the starting point in the shortest time. The narration will not be readable despite the linear continuity due to the disruption and space/time intervals. In the end, despite the visual continuity, the narrative has no beginning or end. Looking at an event from different angles can disrupt the grand narrative, so there is no straightforward story.
Infinite Action
This painting is based on the Mobius strip. The Mobius strip can invert the relationship between inside and outside, wherein a continuous transformation changes the nature of the space. Here, the space has a twofold but persistent quality, so a third space comes to life as a result of combination of outside and inside. This third space is where synchronization, transformation, and repetition between phenomena take place.