We do not live a life recognizing the moment of the present. My work intends to record the boundary of the moments that recognize this ambiguity. My work represents serial images of “the moment of taking off the clothes” among these moments. By taking or viewing the meaningless repeated behavior from an angle of a camera and representing numerous processes of taking off clothes that are familiar but hard to notice on a canvas in a magnified size and in an unfamiliar way, my work turns routine perspectives to animated and organized perspectives. The clothes are what I put in and the momentary ones to disappear but I myself am reflected in or on them. Nonetheless, I can approach myself only when I take off the clothes.
 
Clothes are most private “objets” contacting skin and at the same time, they are the most external protection. The moment of taking off one’s clothes is the moment of converting from official space to private space. Meaning is added to an uncertain moment that seems a little bit boring and that happens in a restricted space. Through the rituals of such interaction, my work reveals the essence of daily life.
 
In the work process that records a superficial image of taking off clothes, I became much interested in the self-referentiality of paintings. The partial image of the body that is revealed with clothes, which is a self-reflected objet, is expressed as a doer of my work and at the same time as material for my work. The body which is no longer a symbolic medium occupies the painting through photos and video images as a body unto itself. The body is involved in the process of painting and further, unconsciousness is reflected. Though the moving body is expressed through the technique of re-expression, it is close to a psychological body. The disturbance of the body in the painting is changing into a single process identified as one in the end.
 
The serial images of strange moments taken with a camera are expressed on canvas in an obscure way. Such obscurity takes on the role of an important esthetic device on a screen from the beginning stage of my work career to the present. I try to express clothes by attaching picturesque substances through a tactile experience from the touch of a brush and visual specificity painted on the canvas. Through repeated motions of taking off the clothes, the problem of perspective is presented. In the process of collecting scenes, sometimes the perspective of voyeurism is represented with a self-camera and timer, not considering the scene. It is the relation of a doppelganger who identifies the subject of gazing and implying self-fulfillment with the object.
 
The daily routine process of today in which the experience in the space is disappearing contains a non-inherent appearance of current experience. Though we are losing daily experiences in the repetitive moments of life, my work leads to a new perspective and to a substantial image of phenomena through my own viewpoint. The content of a work focusing on a scene of a person taking off clothes, which might be sensitive, will be delivered more simply by the technique that intensely takes and uses repetitive scenes. Taking off clothes is always accompanied by putting on clothes and vice-versa. Adding painting activities to recording the repetitive taking off of the clothes, my work asks the question of the relationship that transfers the boundaries of a person and of the world, of existence, and of disappearance. I stand on the process that reveals an imperfect relationship between objects and inherent self-consciousness which is hard to express in superficial portraits of daily and ordinary life.

- Yim, Ju Youn