Macguffin Drawing Structure




Text that has been realized with in singular space at altering times can be spotted clearly in graffiti, the atonal scale and pile of stacks.

At a glimpse, each text seem like chaos, a mixture or disorder.

Seen from a hierarchical logic viewpoint, disorder might appear to be exotic or rather B-classed. However, within their relationship, the cross-section of layers is visible. Amongst the correlation of stacks, the basis of a fine co-existence of genre triggered by mechanical function of the situation and gravity exists.

The moment of take over constantly seeks to reveal itself and at a sufficiently provided time that latency is projected.

Rousseau’s forest, the forest of hybrid and slave dialectic based upon the subaltern are all full of potential waiting for the dawn of enlightenment.




My work structure relies on several personally created “nets”. I hope it to be the samsara’s net but the apparent indifference between the art language structure does not impress me.

Yet, that structure satisfies Hegel’s condition of self-denial, which does it.

The starting point of the work mechanism can be seen in the representation of trees, expressed in aesthetic language. This presentation leads the whole canvas and catches the viewer’s eye. Continuous arrangement of trees covering the entire surface upon order(structural method) established incarnates an essential aesthetical aspect: materiality. Expressed figure of trees with big brushstrokes vanishes beneath the consciousness while conducted speed and vibrating energy; autonomic application of paint and thick materiality fills the viewer’s gaze with vibrant tone and color.

The color red and black along with their related matter stands out amongst other methods expressed in thin layer of  inframince at the rear, naturally grasping the gaze solely by its sensuality unrelated to the narrative.  The concept of the work now becomes the structure of matter application itself rather than the narrative.

The property of Dionysus festival or carnival and the parody of masterpiece as the narrative only act as a tool in continuity of mise en abyme which is a minor structure within the larger arrangement. Figures from various masterpieces are placed on layers on the rear and their surrounding environment could be constructed upon Uccello’s perspective. Yet, the three-point vanishing point method used by the new-Leipzig school is rather viable to confuse oneself.




The practical beginning of the work starts from composing a full-screen, full-installation, full-video script where a rational spatial composition is crucial. Elements left out from bigger arrangement and space created from inter-elemental gap becomes an autonomic space stuffed with sensation. If a structured design is based on rational control, the sense wholly dominates the procedure. The gap is filled with drawings before it sets in. Widened gap between images are filled up with formative elements that are let freely to create their own reason. The expression of implosion space is a good challenge for building inframince layers. (Monad growth difference of circles and hexagons is an important example of comparison) Compacted commissure of monads is adjusted by a large deletion for containing moveable space. A rather paradoxical and destructive thought, but earthquakes, tsunamis and weather fluctuations all acts as Conatus’s self-denial for self-sustainment and an inevitable cycle of ambivalence. The appropriateness of Da-da needs attention.




The thought of ambivalence of Rabelais or Mikhail Bakhtin have been portrayed in numerous cases of my work before confronting their theories. Social aspects or evident rollover of images spotted in the works are its proof. The transition of gender, conversion of social role, hybrid of flora and fauna are seldom mistaken as mythical narratives. However, they are ultimately an expression of ambivalence.

The signifier in charge of the suppressing villain must be present in Art, for our beloved signified can be projected. While greatly agreeing with The Cremaster Cycle that creativity maximizes under confinement, restriction and suppression, the theory again cannot avoid “the death of the author”. This comforts me and allows me to use site-specificity as a tool. My hometown Hab-Cheon is a site of Phallus who had been castrated by the death of Ophelia. Memories of my youth-years corroded and dissolved underwater by now, does not remain unless under the influence of Madeleine recall. Loss and confinement becomes the root of anxiety and I am thankful for my loss and the cause of punctum. On the expression of punctum, a reminder of memory, I insist to take a pornographic attitude instead of an erotic one. Straightforward, brutal spiteful remarks seem more like myself rather than the restrained.




The knot of the ‘net’ accessing the circulation can be represented with the formation and growth of rhizomes. Constant connections between an identical property and altering body happen and are reconstructed. Rhizomes access structures and the space between the lines widen. The rhizomes then become fixed. As the structural net implodes (repeated overlaps or increased density) the non-structural net space (inter-net space) becomes rich. Like the storage of compressed air, (ex: layers of clothing in winter) more layers of fabric, create more space for the air to be carried.

Compressed air revitalizes its motility – energized air seeks for an exit for its outlet of desire. The inner explosion accompanies Jouissance.- The practical basis for implosion are formed by both horizontal and vertical depth of suppression.




Lubrication of matter doubles its speed. To boost its speed up to its limit, the friction level must be dragged down to 0. A medium is required on the surface for the maximum speed allowed for brushstrokes. (the becoming of turpentine and linseed oil to medium.) Applied speed of matter creates unpredicted effects through the fine surface provided by the medium. Physical force permits possible impossibilities.


The demand for friction factor 0 occurs in various situations.

From the zero-sum of writing, contact point of S/Z, creation of the text, boundary of abjection and so on. The slipping occurred on the site of contact causes a gap of discord and simulation suture of that gap is the artist’s privileged monopoly.  


To increase the density of the work, the compositions of outlines are planned and art languages accounting for procedural inter-facial, inter-linear and inter-brushstroke transformations are used. This is a strategy to minimize the friction level between the ‘net’ and spaces within the net during the fusion amongst the word dramatic (scripted, planned, repeatable) and performance (improvisational, transitional, creative, non-repetitive).


The extended expression of space within the ‘net’ is filled with description, set situation and various parodies. This relates to the composite of the world as an existence within world.


Universally recognized images are a crucial element for the transformational probability of inter-net structure. In order for the potential to be displayed, its storage must be constrained. What I intend to show is a strong stroke of brush portrayed upon matter. – this is relevant to the revealed  Dionysian’s murderous intent.




My keywords are; conatus, Ewige Wieder-Kunft(eternal return) , monad, Spiral Circulation Structure, ambivalence, mirror stage, gaze, The grimace of the real,- macguffin, desire, Not ideology but Hegemony,




My reason increasingly activates my sense. Vicious fire of reason vaporizes the water of sensitivity, which is then allowed to be let out.

The space in the ‘net’ is articulated in tongue drawings, sensual drawings according to automatism and Merleau-Ponty’s flesh drawings.