Title: Re-imagining painting in digital fiction time, colour, and space in recent experimental moving images
Abstract: In my experience in digital practice, the 'artist animation' is fundamentally related to photography and painting, which find a continuous surface, having a sense of 'time', in the images in fictional motion. This paper focuses on my creative methodologies of 'time-based paintings', associated with my current solo show entitled–Any-Space-Whatever (2010); it presents my selected works (2007∼2009). My practice deals with electronic media that raises a number of surreal issues as well as suggestive sign systems in the immersive virtual space. I combine three similar visual styles that straddle the modernity of painting and photography and the advanced technology of animated images, into a body of work usingcomputer animation and cinematography. The works are constantly displayed on several LCD monitors, thereby allowing the viewer to perceive them as two-dimensional paintings. Following several discussions, I investigate the motion picture of strange beauty. This suggests 'romance' in the fictional space, evoking the uncanny and the sublime. The root of the romance involves various linear pleasures in modern Chinese cursive calligraphy. This thought is extended to the cyberspace, which involves cinematic structure–a visual interaction between 'psychological' space and 'physical' dimension. I discuss another aspect of the digital montage, the characteristics of colour in time. The colours of time emphasise structural forms–the 'contents' of the work. I digitally create a hybrid of fictional landscape between the real and the fake using the perception of montage. Furthermore, the aura is a critical factor while viewing a relationship from animated images to pictorial colours. The idea is to seek various 'realities' in the virtual world. For developing new techniques and ideas, I searched for a digital process enablinga painterly expression of a psychological experience of vision. The 'lyrical abstraction' in the work acts as a kaleidoscopic visual language, drawing a very surrealistic approach. Finally, I explore the 'lyric' sense underlining the space of fiction, where in time is a suspendible factor. Through the dramatic space, an automatic quality forms a relationship and a differentiation between two-dimensional images and three-dimensional objects simultaneously. Thus, the audience mentally participates within the moving-image world.