Exhibition Information

a woman who does something with a cube.
2019 Digital printing on holographic vinyl 100x100cm

19870705
2019 Digital printing in latex 100x430cm

<Cromaki>
2019

<Cromaki>
2019

			a world of fire/transluence
|Global Anseong (Curator, Media Criticism)
It is quite common to see 'something' in a synthesized state in everyday life. There is a form of material combination in which different materials are combined to form a joint, and there is a mixture that is difficult to determine what is combined with what. The object of the combination appears as a guide to explain what is not here, or it also exists as a welcoming object, as if it were here. A small tour of the area will reveal many attempts to materialize such nonmaterial objects.
There are many variables in using digital tools to express what is created in a virtual space as a real space. It's difficult in that you can't make what you see as it is. A digital production that is smooth, transparent, fluid in movement and size, and somewhat free to move and modify, appears as a material (printed or synthesized) that has been deleted and replaced by a transformable medium through the physical transformation process. A case in point is character goodies. When characters in a movie or cartoon are implemented in the real world and have a realistic "form," they are either produced or subjected to a high-quality production depending on the unit price or manner of production, or in a crude form. This allows you to think about the nature of a substance in the process of being 'something' when an object goes through the materialization process.
"Chromaki" is a term referring to a technology that synthesizes two images, while also means a background that is used for synthesis for special effects. A series of processes in which an actor or a particular character moves in front of a green/blue background during the filming process and subsequently changes the background image to a green/blue background (also known as a synthetic one), which is often referred to as a blue screen or a blue screen because the background color used is usually green and blue.
In Jeong's personal exhibition "Chroma key," Chung will experience two aspects of kromaki. One is the 'Cromaki to Synthetic Technology' that is revealed in the process itself. Jeong's work is more of a digital manual, with the ratio of actual to digital size in output surpassing 1:1. Using Photoshop and tablets, the work, which was literally created in the same way as making "one stroke, one stroke" granularity, has gone through a synthesis-application of both in the process of painting and "being," recognizing identity as a copy of a copy of a copy of a copy, as the author says, and trying to bring together the infinite effects of an image of something that has been real or nothing.
The other is 'Cromaki as the meaning of the background for convergence' in that it produces and deploys digital-generated kromaki in various forms of output, thereby blu-screening the real world itself (the exhibition hall and the surrounding environment). At the exhibition hall, you can meet various kinds of opaque, rough, shiny fabrics and pieces of work printed on wood, canvas and vinyl. The printed work based on various supports is a separate section of the large digital drawing task <Women Who Do With Skin> (2019), which was created by the interpretation of the subject of the 2019 college entrance exam at Ewha Womans University. The work takes the form of solving the college entrance exam questions, and sought to bring to the fore the scene where contemporary art as a "bad place" where only oblivion and repetition are repeated. The results, which are printed in parts other than the whole, are arranged in a transparent or opaque overlapping form in the exhibition environment and in the middle of the exhibition walls, windows and exhibition halls. The printouts, which exist as fragmented parts and make you imagine the whole thing, make the showroom literally exist in blue screen and create another semantic kromaki.
Cromaki lets you imagine beyond what's not here, but he also shows rough gaps in the gap between imagination and realization. One-to-one conversion to something that touches something that cannot be touched has many considerations, ranging from differences in nature in the process to methods of expression. That's why people feel uncomfortable in the so-called Computer Graphic, a synthesis that feels very easy to use.
In wartime, he tests various limitations in digital drawing, which deals with "real" but "not true," and speaks about this inconvenience. The author also said that this process seems to make him irrelevant to the world. He adds that he wants to be realistic, but the exhibition, conducted by a roundabout experiment on digital materialization, reveals that digital, considered a limitless limit, must consider materiality more than anything else for implementation. Therefore, the author's attempt may be a "real" aspect of the era that can be found anywhere in the contemporary era where digitization is currently taking place in most areas.