For the final project I want to focus on the idea of feeling a disconnection within oneself, it could represent a physical disconnection, emotional, mentally as well as cultural. The focus is of how feeling disconnected of something personal can affect one’s self and have a conflict with one’s identity and how that would make it difficult to feel a sense of belonging and or purpose. Although I want people to get those different aspects they can relate to I want to focus mainly on feeling discounted emotionally and culturally and how that shapes my own perspective of who I am and how that makes it difficult to feel purposeful as well as how it feels difficult to feel in a way complete. The main imagery of the Project would be a disconnection between the body and different elements that will represent emotions and culture. I want to do an installation again since I want to focus on a strong image, I liked the idea of making a cast again like I did with the face of my previous work but this time a fuller cast of a body that’s not complete and connected to other things around it but not interacting fully, I would also like to use video but Im also thinking of just using sound to enhance an unsettling feeling. I want to explore the idea of the self, identity and culture. I was inspired by Kim June Paik and his work Ommah for his work he combined a known cultural image and a tv screen playing with two very different images and making the viewer feel frustrated at what the robe does not let them see. What I get from it was that by trying to view what’s behind like the idea aspect the viewer is avoiding the other icon Infront of it. I interpret it as a way of conflict between culture and society/technology although he was heading a different direction from the description. I thought it would be an interesting idea to see it from another perspective or similar as well.

ABOUT THE ARTWORK “Ommah”

“In Ommah, a traditional robe that might have been worn by a well-off Korean boy some 100 years ago hangs nearest to the viewer. Through its lightweight silk, images on an LCD TV monitor can be seen, but not without the irritation of a moiré pattern caused by the interplay of the two “screens.” The monitor plays a program lasting several minutes and looping continuously. Three Korean American girls in traditional costumes dance, play ball, beat a drum, and ride in a toy car, seemingly carefree but carefully choreographed by Paik. The back-ground imagery includes close-up views of early video games, footage from TV shows, and material from Global Groove, the video Paik made for WNET-TV in 1974, all manipulated using a high-tech version of the color video synthesizer Paik coinvented around 1970. The music includes ambient sounds of the studio, both straight and processed, and snippets from Paik’s own experimental music tapes of the 1950s.

As stable and iconic as this cruciform work appears, our physically moving before it is vital as we pass back and forth, trying to peer through or around the robe. Paik attacked the passivity that he felt television imposed on viewers. Through endless play with the medium, he reclaimed the “boob tube” as an expressive, democratic tool. A Fluxus-inspired trickster crossing high culture with low, Paik never lost the homemade, improvised quality of his earliest experiments.”

•