We know this but we just don't know how to show it

We know this but we just don't know how to show it

By Ronin Cho

NEW SENSATIONS: SAATCHI GALLERY & CHANNEL 4'S PRIZE FOR 2011 UK GRADUATES

We know this but we just don’t know how to show it (2010) is a kinetic sculpture that mimics door knocking. It’s built with hand carved wooden hand, a door, a microprocessor and a distance sensor. As the audience comes close to the sculpture, the hand starts knocking the door multiple times.Please follow this link to view the video. 

http://www.saatchi-gallery.co.uk/ns/

http://vimeo.com/19106933

My interest lies in between two different spaces: the material/physical world and the immaterial/electrical world. The value of the immaterial is rapidly increasing as technology, Internet and small gadgets are popularised. Accordingly, the dependency on unseen systems and their influence is escalating followed by an alteration of people’s belief and behaviour, especially in communication.

I am a model of a person who has such a dependency on unseen system. However, since I found myself struggling finding where the sincerity is, I despise this unseen system for its illusion and side effects such as its speed of change, which disrupts digestion of thoughts. Then I started to crave certainty in the material/physical world as well as balance between two worlds in this inseparable disparity.

The fantasy of pressing a button is already realised and part of our life; we don’t need to understand how the system works. However, lack of awareness in the behaviour leaves unwanted or unintended marks. And because of the behaviour alteration, the level of consciousness reaches near to the ground. From these changes, I explore the origins of this phenomenon by finding unnoticed parts of everyday electronic appliances.

If I were selected, I would like to continue to make the work; transforming the various characters of those objects and their non-physical status into something sturdy, physical and tangible. By elevating their physical presence to a sense-sharpening tool, I try to provoke a question to the audience: where is our belief in this hurried shifting time?