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Three objects by the Los Angeles- based artist Young Joon Kwak deal with language, gender, and marginality. All are linked by the concept of surveillance. And all three artworks consider how we see ourselves, how we are seen by others, and how perceptions shift based on presumptions of the viewer, the viewed, and what we are assured is neutral technology. Kwak takes a composite approach to reimagining materiality, functionality, and form in order to propose different ways of viewing and interpreting bodies and the physical and social spaces in which we live.
The term palimpsest is applied to written material partially or completely erased to make room for another text. Shining Palimpsest literally spells out seven personal pronouns I, you, she, he, they, we, it written in LED rope that physically wraps and twists over itself. Who we are and how we are viewed depends on perspective, including that of the surveillance mirror to which Shining Palimpsest is attached because, at some level, we are all being watched.
Surveillance Mirror Vaginis more specifically references sexuality and gender mutability. Yet the large domed mirror at its core plainly reflects the environs and chronicles who is watching the goings-on. Paradoxically, a stationary version of that screen becomes the medium by which Caitlin Cherry archives and the present. As a keen observer of the world, and as someone concerned with the transit of time and the shortness of memory, Cherry wants to record current culture that might be forgotten or discarded.
It is a warped image waiting to be resolved. To further the bond between her paintings and LCD displays, Cherry mounts her large renderings as if they were a screen installed over a desk. Paintings are attached to a mobile metal support, so they can be flipped, rotated, or otherwise angled to a custom position.
