© Yiyun Kang    since 2008

As seen in the documentations, the final installation used different sections of the bank cabinet room for projection surfaces. I fully employed the bank cabinet room’s semi-open structure so the images projected onto the windows could be viewed through the back of the cabinet. The effects of light and shadow delivered by the moving-images, the real shadows cast by the projected light, and the viewers’ shadows, were all mixed in the final installation. This was possible because of the semi-open, three-dimensional character of the bank cabinet. With this projection surface, the notions of front and back and inside and outside thus did not apply, and the canonical notion of screen could not properly describe Circulation’s projection surface.

Circulation documentation of projection mapping installation, 2014 
filmed and edited by Delmar Mavignier

The filmed performance of human bodies behind the white fabric superimposed on the front window of the bank cabinet suggests that this space, once filled with dynamic human activities, has become obsolete. The live-action footage of human bodies was intended to evoke the confusing and uncanny feeling that someone was inside the room, performing in real time. Even if viewers realized that they were seeing pre-recorded footage, I aimed to evoke ambiguous feelings—generated between the tangible and the intangible—to reflect and then reinvigorate the obsolete bank cabinet.

To reinvigorate it, I created black-and-white abstract animation that was produced to fit the bank cabinet’s formal features, its semi-opened structure, windows, and shades. The light and shadow effects generated by the projected animation drew viewers to take more time when looking at the details of the bank cabinet. Even though the cabinet’s original function has been abolished, it now resides in the context of an art venue, invested in a new institutional context. Thus, I aimed to make the bank cabinet room stand out as an art object, as opposed to as a background. As a result, the hybrid moving images that I created fundamentally responsive not only to the formal aspects of projected surface, but also to the contextual meanings of it.

Circulation Slide show

Circulation Slide show

Circulation Slide show

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