![[News] NOH Sangho's attitude toward image](https://artlogic-res.cloudinary.com/w_2400,h_2400,c_limit,f_auto,fl_lossy,q_auto/ws-arario/usr/images/news/main_image/434/0121-ba-_099-2048x1152.jpg)
If you look at the current portfolio, you can feel the fierce change, but externally, I think the image of the ‹ Daily Fiction › ‹ The Great Chapbook 1 › ‹ The Great Chapbook 2 › is strong. In particular, I think that working on four album covers of the band "Hyukoh HYUKOH" and appealing to the public is acting as a kind of stereotype.
In a way, it's natural that it can become a stereotype when I'm known to the public through Hyukoh's album cover work. I've never taken it as a huge pressure because everyone gets a stereotype when they work. So I think if I like it, that's all. Wouldn't I see someone else as a stereotype? For example, if you say you're singing a song, it's the same as saying, "Oh, you're singing a song. "Of course, Mr. Naul may feel bad, but at the end of the day, everyone recognizes others as stereotypes, so I think it's a waste of energy to be sad. I've never thought that Hyukoh's album cover had a big impact on my working world. Rather, meeting a lot of people outside the art world had a big impact. Since I played the role of the art director of Hyuk's album, I think my work changed little by little as I got to know people in the entertainment business and opened the door to learning about music video directors, photographers, stylists, and so on. I think I've become a softer person looking at different images than usual.
With Hyukoh's love of ‹ released in 2020, it feels like collaboration has been completed by using Wolfgang Tillmans' photo work on the cover of the › album. Do you have any regrets about this?
To answer first, it wasn't a bummer. When I received a call that I could work on an album cover with Wolfgang Tillmans, I said that I should work with Tillmans because he is such a good writer. And from Hyuk's point of view, the album was a bit different. Since we originally work on the album title of 10,000 years, I'm cautiously predicting that the next album will have a new album cover that will continue. But I don't have to do it, but someone else can do it. Wolfgang Tillmans' photo and ‹ love made the › look really good. One thing that I'm really sad about is that › is my favorite album, Hyukoh's ‹.Musically. It's a waste in that regard because my name wasn't included in it. But Hyuk isn't even Kanye West.
I know you have a deep relationship with Oh Hyuk. What kind of person is Hyuk Oh like to the writer?
I personally respect him. Since he's a friend who sees so many things and talks about them, I learned a lot from his attitude not to miss the trend. But I think it's zero if you depreciate because you're close to me and it's a lot that bothered me? Ha ha.
Why don't you miss something trendy?
That might be a bit of a catchy.He just watches a lot of things. And keep thinking, keep talking. That's what I think is trendy. ‹That's why I like › with my love. With Hyuk Oh gaining popularity, there was even a stereotype. Of course, he thought a lot about it, but he was like, "It doesn't matter." Hyuk Oh's stereotype allows you to make a lot of money, but instead of adopting it, you should do what you think is cool. It's great to show that attitude in the face of temptation that's much bigger than me, but there was a time when I did not just do what the public asked for and continued to pursue other things. "What's wrong with you? Go on a variety show." I was so moved because I think I saw the complete version of what I wanted to do on the › with my love for ‹. In that sense, he inspires me a lot. It's like this. It was great to be on the Infinite Challenge › in ‹ in my early 20s.At the album meeting, we were always together like creative directors, but there were times when we talked about populism. But the friend always said, 'I don't want to do that. "You have to do the coolest thing in your opinion so that the people who like you can stay." Sometimes we say, "Yeah," but sometimes we say, "But why don't you just do this?" I said, "Wake up," but there was a part where I was silent.› was an album that I could understand with the love of ‹ that came out 3 to 4 years later. Of course, he wouldn't be happy if I said okay, but I liked that feeling anyway. When I was young, I was always a friend who bought food, but after our careers built up, I envied that attitude and approached very well.
These days, the writer is trying to change through the latest ›, The Great Chapbook 4 ‹.I wonder why you use an airbrush instead of a water-based oil.
I'm a person who lives on a daily basis. So you have to draw something quickly so that you can quickly get it back to the next image. The easiest way to draw a picture when it gets bigger is by airbrushing. There are parts that are connected to the context of the work. It's a way of painting without physical contact with the canvas, so my body can't get in. But it's hard to say that it doesn't go in at all. The nature of this ambiguous tool is very similar to my attitude. It keeps going back and forth between virtual and real.As a metaphor for this, the airbrush fits well.
Young painters seem to use airbrush a lot these days, what do you think about this?
I think it corresponds to the reason I'm talking. It's not completely physical, but it's not completely hypothetical, but it needs some medium. I think it's because the difference between drawing with a brush and the sense of spraying with an airbrush is connected to the virtual world through the smartphone, but at the same time, it is a metaphor for the fusion of oneself living in the real world. And this is fun, too. Airbrushing is a very classic art tool. I think the digital paint played a big role in the reason why it suddenly came back after not being seen for a while. There are a lot of illustrators that use Photoshop's airbrush tool to draw pictures. But if they've actually used a real airbrush, it's not that. I started my working life with Photoshop, and that's why I use the airbrush tool in Photoshop naturally, and seeing a lot of these images, contemporary artists want to paint like this. But when I looked into it, I found out that this was an art tool that had existed originally. Photoshop originally created a tool function to follow the real airbrush, but I think people are looking for a real airbrush because they want to copy the airbrush effect of Photoshop. I think that's how everyone gets to use airbrushes. I want to apply the sense that I used in Photoshop to draw in reality. The word "sense" is also attached to the sense of going back and forth as mentioned earlier.
The photoshop story you just mentioned is very interesting.
That's how I interpret it. Of course, there are more reasons. You can't just knock down art in one way or the other. It's also related to the graffiti images of street art. In the last five years, street artists have often been called to the exhibition hall. Graffiti is also a kind of airbrush in another sense. I think the beauty of graffiti painted to survive the wall affected it. I don't think those people should be seen as the same airbrush writers. Anyway, as part of the thought of how to put out virtual, reality, physicality as output, everyone is looking for different ways, and airbrushing is one of them.
Do you have any regrets that you need to reinforce while working?
When I look at the working language, I don't think there are any weaknesses or weaknesses. Because I'm doing "The Most Now." So I don't think about that, and I think it's the current attitude not to reinforce it. I don't want to add something, and I don't think I need to because the information is so scattered and it's the current reality to harvest and create images as much as the artist likes. What I'm worried about these days is that each image should be stronger and survive more. No one wants to read the whole context. It's like asking a digital single to open an exhibition now and saying, "A full-length album is a real piece of music." I think I have a weak side in that I have to be a person who can survive with just one image and compress everything and show it.
Did you find the answer to make the image stronger?
I think the most powerful thing is to bring together drawn pictures, which I call "map" work. That's represented by my image.
Do you have any desire to survive my work as an artist?
I don't have a hierarchy in my work, and I think it's most important to enjoy the process because I had fun when the image came in and went out again.
In an interview, he said, "The most interesting story, the narrative, is the image."
It's about the world I'm looking at. That's what I'm seeing, or the impression of the times, is changing. For example, it's a question of whether a two-hour movie, a ten-minute YouTube video, or an 11-second Instagram story would be fun. I feel that it's getting shorter and shorter, and leaving only images as the narrative is missing is an attribute of media language these days. But the image is not a narrative. It's not that. Because people feel something through images. After all, a worldview that only works that much is now opening up and getting shorter... I think that's how the image language of the present era exists. You may not think about compressing what you have to say in two hours into 10 minutes, or even writing a two-hour story at all, and instead of a 10-minute story, the story is moving to a softening stage with just one image. In a world where stories are made in response to no longer being written and only providing provocative clues, only the worldview is now being created.
People like us will starve to death. (devastated)
Oh, but that doesn't mean a two-hour movie won't come out, right?(laughs) These days, I'd rather see paintings, sculptures. After experiencing new media, conversely, I am not interested in what is in the middle of new media, but I am attracted to the most primitive things.
How primitive?
The hand-drawn, the hand-made, is coming to me intensely. In this era, I'm trying to infer that I like to be more physical because I emphasize leaving my body too much. I think that's why I don't let go of the conversation. It's an answer to why I speak in conversation, but in that sense, writing is also the most primitive, so I think it will come alive. Wouldn't the countless things that exist in the middle of new media and primitive things eventually die? That's why I shouldn't be in a clumsy place.
What would be a lame example?
We talk a lot in class. For example, before 3D and VR art became popular, work using After Effect or Photoshop was popular. They say it's a new media. If you look at it now, it's a level that everyone can do with a smartphone. No one calls out the writers who were active at the time. From this point of view, working on 3D and VR now can be highly likely to fall into an ambiguous state when more advanced new media comes out in the future. Then, I wonder if what I want to see in the future is the painting, sculpture, and writing at the back.
"For me, art is about researching/researching the politics of images found in the senses and emotions shared by contemporary or generations and revealing them visually." The moment I saw this sentence on Twitter, I thought that the art you define is very clear.
I kept correcting this sentence for a year until I made it. I had to study the genre more because I was a person with no genre distinction, so I had to think for a very long time about what art is and what it should function at the same time. After I saw the things consumed as images in the contemporary media environment and discovered what kind of sensation it is in that emotion. You wonder why this sense came out. Taking airbrush as an example, why do you suddenly see a lot of airbrush paintings these days? For me, this is a contemporary, so I think about the reason for its emergence. And think about the device that functions behind it. When it comes to the conclusion that airbrushing is the starting point to show the change in the topographic map between virtual and current, we should work with that source, convinced, "Oh, that's why I've been seeing the picture with airbrush. "I used to use it up to here, but it was a bummer. Rather than just showing it, it has to be amazing. So I added, "Visually perfect." Through research and research, we must not only find and speak about the politics of images, but also achieve visual perfection. The person I ultimately want to be is someone who goes through this process to make the most complete visual objects. The standard will keep changing, so we'll have to keep thinking and working on it. It's not going as well as I thought. In fact, the contemporary or generation is more of an art investigation. Actually, it's "I", but it's a little embarrassing if I say it openly. But it's not wrong because people who see the work don't read it only to me and keep in mind generations, times and time zones. The word "politics of image" is also a word that collectively refers to different reasons for what I see a lot. So what you see a lot is that you think there's a reason and think about it.
Is there a case where you deny something you see a lot?
Maybe I should deny it, I try to establish a sense of ethics. At the same time, I'm wondering if I should accept that this is one of the phenomena of the times. In that sense, I think there is a conflict when researching. For example, female body damage is frequently seen in recent 3D images. Since there are so many 3D products, I'm going for something more stimulating. Whether it's a woman turning into a more cyborg, or looking like a weirdly strengthened body, or her chest getting too big, they create these images to make her stay more visually. I see a lot of things like this, but I'm worried. It's the end of the image to survive.
If you affirm what you see a lot, shouldn't you deal with this image of female bodily harm?
That's right. So I'm wondering if I should use it as an object for my work, and some of the cyborgs might be post-human-related work. At that time, I think it's not an ethical problem, so the conclusions I make every day change according to this ambiguous boundary. But what I'm sure is that what I see comes from the following account. It's my own curating list. If space-time itself is made according to my ethics, then my timeline is my contemporary, my senses, my emotions, my ethics. That's why I keep cancelling my following and managing it.
It's in line with what you said, "Work is about making what you want to see."
That's why I always think backwards. After finishing the drawing, I looked at it again and said, "Oh, I liked this back then. I think I collected this image with this thought. This is what my ethics line was like then."
In a way, it's a mechanism by which your life is completely exposed to the work. Is there any stress?
I've talked about this with my wife. They said they don't understand me drawing things like this. You may regret it later or hate it in your heart, but why on earth do you draw it? I think this is actually very principled. Why does a writer work? I thought it was the same question why do you make something and show it to someone? I'm just doing it. There's really no answer here. No one pays for it. Even if you say "I did it because it was cool," the standard for "cool" changes every day. You can't set that standard by itself. My wife is frustrated. "You can watch it if it's cool. Why do you have to?" I don't know why the switch is going up. It's natural for me to release something when something comes in. I think that's probably the case with most writers. They're people who have the compulsion to send out any input. It's a tendency that every creator has to have.
So that's the kind of person who works.
When I was asked what the merits of art college are, I thought a lot about it. I don't have any good points.(laughs) And then I said this. There's only one good thing about coming to art school, but the teachers kept saying, "Who are you? What are you doing?" What do you think?" I ask this question for four years. This is driving me crazy, but I met people who majored in other majors after graduating from college. They only do this kind of training at art school. Those who graduated from art school seem to quickly recognize that they should objectify what kind of person they are and do this because they are this kind of person. Of course, it's a problem to do this for four years. I don't teach you anything else. Anyway, I think, "Isn't it because I'm a person who really believes that setting up certain values and organizing and archiving what I'm seeing makes me healthy and beneficial?" That's why I watch more than others and think more about what I see.
This is our signature question. Why are you so engrossed in your creation? What makes you continue to create?
I think it's a very small and simple joy. For example, after drawing something for an hour to an hour and a half a day, I feel "very happy," and if I scan it and save it as a JPG file, it fills up one in the folder, as if a reward was filled. It's not that big, not that small, I think that kind of joy is what makes me last. And when I look back, too. I sometimes look at what's piled up behind me or check it out, and it's just... There are times when I think it's 'good' apart from what I see lacking in work." It's just nice to me. I think this is the driving force behind the creation.
Lastly, if you have any role you'd like to play from the « BB Attitude » or have anything you'd like to say to your readers, please feel free to ask.
If you read this answer, you're more likely to have crossed a huge text river. That's why I want to say thank you very much. There are times when I want to say that I get comfort from the people who came all the way here. There are few people who have been so interested in me, and I don't expect much, but sometimes I feel very strange when there are people like that. It's nice and I'm sorry, but it's kind of vague and weird... Anyway, I want to say that's how I feel.
