Simplicity, and the Conspiracy Behind
Jang Woosuk presents his complicated and delicate pen drawings on white paper. But the drawings are not done by hand, but by the Plotter-a machine used for textile printing process. The artists takes the blades of the Plotter and replaces it with a pen, creating a drawing machine; then
he creates a program that will turn this machine into his assistant; then to have its original copy digitally, he drew directly on to the computer screen. Thus, the final print of the work is the result of careful calculations and collaboration of images through a challenging process.
These works by the artist makes us question whether his work is a product made by a machine or is a perfected drawing technique the artist developed through his invention. This drawing is the mix of digital and analog's input and output, and Jang WooSuk's work contains both digital and analogue aspect. The way he draws in every single image by hand in the computer is the analog character of this process and the fact that he incorporates computer program is the digital. Plus, the work looks hand drawn, proving its analog character when the fact that it is possible for mass production reveals its identity as a digital work. There fore his work becomes something that is both digital and analog-a digi-log art.
The images he puts on the map are the celebrities whom are very familiar to us; Microsoft's Bill Gates, Apple's Steve Jobs, Honda's Honda Sigueharu and Leonardo da Vinci from the Renaissance. The artist creates their portrait by assembling images of the accomplishments those men achieved. In our current day society, we build our civilization using their technology as the foundation of diverse cultural contents. By accepting these men as the most influential artists, the artist makes us think about technology and arts--their relationship and identity. Especially, by adding Leonardo da Vinci, the artist's attempt to praise and respect these men is made clear.
In addition, there are the ironic drawings of the mushroom cloud formed with a collage of machines and animals, and the island of land and ice-berg. Such contradicting and two sided images are actually a reflection of our own narrative. In the end, we are a helpless being living in a forest without knowing that we live in a forest; digital and analogue, manufacturer and artist, physical and mental;
we live within the duality and diversity, and we cannot only depend on one or the other. The artist suggest that if one takes a step back just a little bit and see, there is a new truth.
Jang Woosuk tells his story within the digital and analog short and precisely by using images that are familiar to us. The reasons for my expectations for his works in the future also lie within these simplicity and clarity in his works.
By Shin Sung Oh / Duk-won Gallery Curator
PLOTTER.
Jang Woo Suk’s experiments are daring. As a New Media artist he screamed, ‘I Do Not Know Anything But Love’, then suddenly turned to fine art with great interest in classics, published short stories that ended the love, and now presents drawings. He even hired a smart assistant for the creation of these drawings. This assistant gets your work done just the way you want it. It is his computer, the Plotter which enables ‘cutting’. ‘Plot’ means summary or a script, but at the same time a plan or a conspiracy. What conspiracy is Woo Suk planning as he speaks to us through his computer machine? First we should meet his assistant. His assistant can draw in many things. He gives a pen to it, and various types of shapes, animals and plants, numbers and writings and many things more are created.
Jang Woo Suk calls this new form of apprentice a ‘Digital Computer Drawing’. Yet, the final product of his work is so personal like those works done by hand. The impression of the work is that of carvings, not that of a printed images. We should take a closer look into his message he is sending in this project to avoid concluding that the value of his works just end in having ‘great craftsmanship’. His drawings are formed with four portraits and two configurations of shapes. Steve Jobs and Bill Gates, Leonardo da Vinci and Honda Soichiro are the experts or rather masters in their fields. Steve Jobs established himself as the Apple Company’s symbol, starting a revolution in design. His portraits are created with items of unique Mac design. Bill Gates spread his binary scale to the whole world, and allowed his portrait to be filled with 0s and 1s. Laws of perspective, mathematical proportions and illustrations of dissected bodies that Leonardo Da Vinci left is unforgettable?especially his handwriting that is as well known to us as his art works. And Soichiro is one of the most respected CEO in Japan for his endless effort and struggle. Thus their portraits show their establishment in our society. Woo Suk’s assistant draw countless lines as directed. Those lines, balanced not to cross over each other, harmoniously creates space and depth through out its complicated paths.
Next, there are pieces in the shape of an oasis and an iceberg. According to the artist, the oasis and the iceberg represents the isolated South Korea. They are all islands after all. Another is of a mushroom cloud, filled with images of animals and machines. On the screen we can see the killing machines explode like the atomic bomb, threatening the animals. Here we should try to read the artist’s attempt. First, four portraits were the meeting point of the subject and its symbols. Thus, the symbols that represent the people are used in the most harmonious way possible. Second, for the case of the island and the mushroom cloud, the theme of the form conflicts with the images that complete the body; here the artist challenges his idea further. It is breaking of the set rules, obvious connections, and stereotypes. The image refuses to stay within its outlines. From this point, Woo Suk’s conspiracy reveals itself. It is because his assistant is a handy craftsman and can print out witty plots infinitely.
By Baek Gon
