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Dancing Ink
Dancing Ink
Metaverse Gallery
Fading Canvas
Looptone #1-
Ink on paper-
27,9cm x 35,6cm-
2020
In the artwork Looptone, the deer represents the creator of a repeating loop necessary for a thriving ecosystem. It maintains a pefect balance and the tonality of the repeatations like the day-night cycle in #1 and mountains for weather conditions in #2, which is supporting the respective ecosytems to thrive. #1 can be read as a view from the back of a deer whose body is covered with terrains and waterbodies and up on it’s head the antlers take the shape and function of human fingers which is creating a sun using a string (cat’s cradle). It also resmbles the shape of a heart with veins covering it’s body.
Deer has a lot of significance in many ancient mythos. In Greek mythology, they were sacred to the feisty goddess Artemis. Deer symbolize the powers in nature that are not easily subdued. They are native to almost every continent, thus they are able to adapt very well to many habitats. They represent instinctual energy, independence, and regeneration, which stems from their antlers being shed and re-grown each year.
Early 20th century poet No Chun-myeong precisely reflected the Korean sentiment in her poem, “Deer.” Koreans have considered them a “respected race” for eons. The concept was born during the prehistoric period, when shamanism and animism prevailed among the northern tribes of the Asian continent, commonly known as the Altai. The deer have been widely treasured from the northern frontiers of Siberia to the Korean Peninsula, then through Alaska and to the Indians in the Americas.
Deer has a lot of significance in many ancient mythos. In Greek mythology, they were sacred to the feisty goddess Artemis. Deer symbolize the powers in nature that are not easily subdued. They are native to almost every continent, thus they are able to adapt very well to many habitats. They represent instinctual energy, independence, and regeneration, which stems from their antlers being shed and re-grown each year.
Early 20th century poet No Chun-myeong precisely reflected the Korean sentiment in her poem, “Deer.” Koreans have considered them a “respected race” for eons. The concept was born during the prehistoric period, when shamanism and animism prevailed among the northern tribes of the Asian continent, commonly known as the Altai. The deer have been widely treasured from the northern frontiers of Siberia to the Korean Peninsula, then through Alaska and to the Indians in the Americas.
Looptone #2-
Ink on paper-
27,9cm x 35,6cm-
2020
Deer have often been associated with heaven and gods. Shamans, the spiritual leaders chosen by the heaven, would wear the antlers on their head and make clothes with deerskin. They were considered the divine animals that connect the god in the heaven and shamans, the representatives of the god on earth. Colombians believed that the spirits of the ancestors rested in the bodies of deer.
Deer by Chun-Myung No
The long neck makes him a
sad creature,
Always gentle and quiet.
The fragrant crown betrays
His noble birth.
Looking at his image
Reflected in the stream,
He recalls the lost myths,
Then in helpless nostalgia,
Cranes the sad neck
To gaze at faraway hills.
Deer by Chun-Myung No
The long neck makes him a
sad creature,
Always gentle and quiet.
The fragrant crown betrays
His noble birth.
Looking at his image
Reflected in the stream,
He recalls the lost myths,
Then in helpless nostalgia,
Cranes the sad neck
To gaze at faraway hills.
Guise #1-
Ink on paper-
27,9cm x 35,6cm-
2019
Vaccuum covered with layers of deception giving traces of different identities. Contrary to mask, a guise is more about the unintentional or deceptive presentation of oneself. It may be a subconscious way of hiding one’s true intentions or feelings, and may not be a deliberate choice. A mask is a conscious choice to hide, so, guise can be seen as more honest representation and it may use masks as a tool. In this artwork a figure is formed with layers of masks chiselled to an asymmetrical identity.
Guise #2-
Ink on paper-
27,9cm x 35,6cm-
2024
Vaccuum covered with layers of deception giving traces of different identities. Contrary to mask, a guise is more about the unintentional or deceptive presentation of oneself. It may be a subconscious way of hiding one’s true intentions or feelings, and may not be a deliberate choice. A mask is a conscious choice to hide, so, guise can be seen as more honest representation and it may use masks as a tool. In this artwork a figure is formed with layers of masks chiselled to an asymmetrical identity.
Guise #3-
Ink on paper-
27,9cm x 35,6cm-
2024
In this artwork, an individual sits at a table, gazing into a mirror, their form constructed from layers of masks that stack upon each other like rings in a tree, each one symbolizing an era, a decision, a moment of transformation, a fragment of past experiences, both deliberate and accidental. The layers vary—some intentional, crafted by choice, others imposed by circumstance, and a few warped and unexpected, the result of chance encounters or sudden revelations. The forehead is left open, as if inviting a deep gaze into the person’s unguarded core, capturing a moment of awakening where the many faces of the self are felt all at once.
In the mirror, shadowy figures stand with their own distinctive masks, silently watching; they seem less like external observers and more like fragments of the person’s inner psyche, echoes of memory, judgment, or perhaps forgotten versions of the self—aroused from hidden corners by this rare moment of self-reflection. Their presence creates a tension, as if the individual is being confronted by their own forgotten selves, the shadows of past identities that linger within. This layered self is awakening to the presence of its own complexity, each mask a reminder of lives once lived and impulses that still whisper, turning the act of looking into the mirror into an encounter with the full, unfiltered essence of one’s being. This becomes a visceral confrontation, where identity is seen as both a protective façade and a constantly evolving journey, alive with the complexity of all it has absorbed and hidden within.
In the mirror, shadowy figures stand with their own distinctive masks, silently watching; they seem less like external observers and more like fragments of the person’s inner psyche, echoes of memory, judgment, or perhaps forgotten versions of the self—aroused from hidden corners by this rare moment of self-reflection. Their presence creates a tension, as if the individual is being confronted by their own forgotten selves, the shadows of past identities that linger within. This layered self is awakening to the presence of its own complexity, each mask a reminder of lives once lived and impulses that still whisper, turning the act of looking into the mirror into an encounter with the full, unfiltered essence of one’s being. This becomes a visceral confrontation, where identity is seen as both a protective façade and a constantly evolving journey, alive with the complexity of all it has absorbed and hidden within.
Bandit Parsec-
Ink on paper-
27,9cm x 35,6cm-
2021
Prologue:
Is visibility defined by the presence of light or the absence of it….or is it sheer destruction of light or reality itself that allows us to see…let alone control any of it
The story:
The Bandit Parsec has his own individual self and personality. It doesn’t have the core qualities of his creators: The black holes. In fact it is created as a result when the potential of the creators or parents (black holes) are challenged to an extent that they stop functioning as themselves.
The artwork is inspired by The Final Parsec Problem in Astrophysics. Once supermassive black holes get close enough to each other, they stop swapping gas and stars and stealing each other’s energy and everything slows
right down. The final parsec problem theory suggests that all black hole binaries will stall out at around a parsec apart (3.2 light years) and time will stretch out to infinity.
In this artwork the blackholes take the position of eyes of an entity (Bandit). The surrounding gases, stars and the space-time distort themselves due to the attraction of the two black holes and warps themselves giving the entity a form. In this event, the Bandit Parsec steals the reality as we know it.
Is visibility defined by the presence of light or the absence of it….or is it sheer destruction of light or reality itself that allows us to see…let alone control any of it
The story:
The Bandit Parsec has his own individual self and personality. It doesn’t have the core qualities of his creators: The black holes. In fact it is created as a result when the potential of the creators or parents (black holes) are challenged to an extent that they stop functioning as themselves.
The artwork is inspired by The Final Parsec Problem in Astrophysics. Once supermassive black holes get close enough to each other, they stop swapping gas and stars and stealing each other’s energy and everything slows
right down. The final parsec problem theory suggests that all black hole binaries will stall out at around a parsec apart (3.2 light years) and time will stretch out to infinity.
In this artwork the blackholes take the position of eyes of an entity (Bandit). The surrounding gases, stars and the space-time distort themselves due to the attraction of the two black holes and warps themselves giving the entity a form. In this event, the Bandit Parsec steals the reality as we know it.
Sands-
Ink on paper-
27,9cm x 35,6cm-
2021
With hourglass on clockwork,
Even lifetimes prove to be units of time
Generations of lifespans filling up calendars,
clocks, time while making more of it,
over and over again.
With the obsession to measure,
and by identifying time with that,
Have we understood it well?
Even lifetimes prove to be units of time
Generations of lifespans filling up calendars,
clocks, time while making more of it,
over and over again.
With the obsession to measure,
and by identifying time with that,
Have we understood it well?
Fear-
Ink on paper-
27,9cm x 35,6cm-
2020
Legend-
Ink on paper-
27,9cm x 35,6cm-
2019
Stances fuelled with ambition and consumption,
small wins, few victories, insomnia.
Aliances with the same boil in their bloods
are tough to come by,
The product of our ambitions
with limited time in our hands, paws and scales.
But we still work together to get there faster;
See the fruits, if not eat them.
However, are we, cumulatively,
short of time or of ambition?
small wins, few victories, insomnia.
Aliances with the same boil in their bloods
are tough to come by,
The product of our ambitions
with limited time in our hands, paws and scales.
But we still work together to get there faster;
See the fruits, if not eat them.
However, are we, cumulatively,
short of time or of ambition?
My Pantry-
Ink on paper-
27,9cm x 35,6cm-
2019
Ventriloquist-
Ink on paper-
27,9cm x 35,6cm-
2020
Is it evolution or shapeshifting?
And to what measure?
Is it gaining complete control
If so, over what?
Or losing control
And if so, to what?
We have a bit of ourselves in everything
and everything has a bit for us.
The strings seen or unseen,
do define the liberties of all entities
But who or what pulls them?
And to what measure?
Is it gaining complete control
If so, over what?
Or losing control
And if so, to what?
We have a bit of ourselves in everything
and everything has a bit for us.
The strings seen or unseen,
do define the liberties of all entities
But who or what pulls them?
Owl-
Ink on paper-
27,9cm x 35,6cm-
2020
Augmented Sounds-
Ink on paper-
27,9cm x 35,6cm-
2021
Receive-Process-Store
and spread at times.
Ears being receptive to many a things,
but aren’t they trained to receive
almost everything human?
Pools of information,
with what we’ve become picky in.
Fishing for the things in need,
out of everything possessed.
This way of doing things,
it came from somewhere,
Do we get into those depths,
Is the Seeker ready for what it reveals?
Or perhaps it is better at the banks,
appreciating its silhouette from afar.
and spread at times.
Ears being receptive to many a things,
but aren’t they trained to receive
almost everything human?
Pools of information,
with what we’ve become picky in.
Fishing for the things in need,
out of everything possessed.
This way of doing things,
it came from somewhere,
Do we get into those depths,
Is the Seeker ready for what it reveals?
Or perhaps it is better at the banks,
appreciating its silhouette from afar.
Break It-
Ink on paper-
27,9cm x 35,6cm-
2019
Ash-
Ink on paper-
27,9cm x 35,6cm-
2019
BearInBeer-
Ink on paper-
27,9cm x 35,6cm-
2021
The slow and steady elevation
that a beer provides,
and the creature that it reveals,
slowly muting everything,
that possesses us through the day,
or in the past,
It lubricates the bones,
the passion, the dogged zeal,
yet undeniably sculpts the time,
binding the bears together
casually breaking down
the fish and honey
consumed through the day.
that a beer provides,
and the creature that it reveals,
slowly muting everything,
that possesses us through the day,
or in the past,
It lubricates the bones,
the passion, the dogged zeal,
yet undeniably sculpts the time,
binding the bears together
casually breaking down
the fish and honey
consumed through the day.
A Killer In My Ashram #1-
Ink on paper-
27,9cm x 35,6cm-
2019
Killer In My Ashram #2: The Thirsty Crow-
Ink on paper-
27,9cm x 35,6cm-
Inkjet + extra details with ink on paper-
75cm x 57,5cm-
2024
[Angulimaala]
“While walking, contemplative,
you said that you have stopped.
But I haven’t.
I ask you the meaning of this:
How have you stopped?
And how haven’t I?”
[The Buddha:]
“I have stopped, Angulimala,
once & for all,
having cast off violence
toward all living beings.
You, though,
are unrestrained toward beings.
That’s how I’ve stopped
and you haven’t.”
“While walking, contemplative,
you said that you have stopped.
But I haven’t.
I ask you the meaning of this:
How have you stopped?
And how haven’t I?”
[The Buddha:]
“I have stopped, Angulimala,
once & for all,
having cast off violence
toward all living beings.
You, though,
are unrestrained toward beings.
That’s how I’ve stopped
and you haven’t.”
Mimetic #1: Snail-
Ink on paper-
27,9cm x 35,6cm-
2020
Overgrown-
Ink on paper-
27,9cm x 35,6cm-
2019
Teeth-
Ink on paper-
27,9cm x 35,6cm-
2019
Who’s consuming and for who
Is it for ourselves
Or for the elders and partners
the friends and acquaintances
the bodily or mental functions
ambitions or regrets
And more importantly
Do we chew as much because it’s easy
Or because we’ve been trained to?
Regardless, let’s get the
forks and knives,
spoons or chopsticks
the tools of the trades
Let’s not care much nor too less,
And neglect this necessity in spades.
Is it for ourselves
Or for the elders and partners
the friends and acquaintances
the bodily or mental functions
ambitions or regrets
And more importantly
Do we chew as much because it’s easy
Or because we’ve been trained to?
Regardless, let’s get the
forks and knives,
spoons or chopsticks
the tools of the trades
Let’s not care much nor too less,
And neglect this necessity in spades.
Snowman-
Ink on paper-
27,9cm x 35,6cm-
2019
Shadows-
Ink on paper-
27,9cm x 35,6cm-
2020
The shadows of the past, future and elsewhere.
Balloons-
Ink on paper-
27,9cm x 35,6cm-
2020
Void is omnipresent
Should make it a god
But people too can create hollow,
In variety of realms of life
We try and inflate and deflate
again and yet again out of everything,
So much that most of the entertainment
and media is based around it
So in case you’re tired of reality,
Indulge yourself in the fantasy of void.
What do you say?
Should make it a god
But people too can create hollow,
In variety of realms of life
We try and inflate and deflate
again and yet again out of everything,
So much that most of the entertainment
and media is based around it
So in case you’re tired of reality,
Indulge yourself in the fantasy of void.
What do you say?
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