Ahn Soo Jin is interested in combining video media and kinetic structure which is automatically controlled by mechanical device programming. This work is installed along the famous stone wall of Deoksugung Palace. His work presupposes a single space but at the same time neutralizes the difference between the absolute and the relative values of a space by returning the coordinates of a figure moving horizontally on a screen to its starting point.
Although the four frames in the work look like an expanding space, it is in fact a contracted space with increased density. It is a real but non-practical space. The artist considers this is a democratic space without borders. What appears to be recorded according to the natural lapses of time is in fact repetitions of the same space. In other words, a continuous frame is composed of three still images, blurring the conceptual difference of movement.
The human figure expressed within the screen pushes his or her alienation up to an extreme state as fiction and imagination are added within non-artificial time and space, revealing the idea of the artist who focuses on ultimate reservation and laughter that express the obsession and desire of mankind.
