“My artwork begins with an assumption that “mankind is in continuous pursuit of new desires.” All kinds of desires are exaggerated, minimized, and deleted in order to achieve a pre-established goal. And the more these desires gather together, the larger and more complicated the constructed being becomes. Thus, this is the constructed fantasy, a fantasy of desire, and a fantasy of our time.” – Byoungho Kim
“Human desire sought consistently in a social structure is like non-material sound from material.” according to Kim. His attractive work involves confusion between material and immaterial, product and artwork, ‘cool’ and ‘hot’. His sound product’s functionality and practicality is diluted with his work’s beauty and form. The artist also pays attention to aura, derived from discourse on sound.
The advent of new technologies, especially the computer, brought radial changes in most of art genres. With the emergence of the computer, our ability to capture and adjust sounds has reinforced, and sound creation and compensation has accelerated through its strong, attractive filtering system. Most interesting is all information is interpreted in the common language of computer codes. Kim’s work is characterized by its distinction leading viewers to a sort of hyper-synesthesia through its functionality inherent in thorough standardization and aesthetic beauty of form.
Trying to discover proper sound waves and its suitable space among found sounds and audio information to be deciphered, Kim intends to encourage viewers to pay attention to his work’s aura through these sounds. This attitude seems derived from his experience in a media lab where he studied video engineering as a printmaking major. Based on his understanding of John Cage’s concept of silence implying that silence is not the absence of sound but an atmosphere, he persistently pursues sounds like an engineer, not as an artist. [Text Extract : 'Variations in Synesthesia' By Younjeong Park]
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