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< Time + Machine >

16 Sept – 20 Sept 2020

Back Room, Peckham, London SE15

   All nine works have been created utilising gaming software, computational technology, and machine language as a hybrid tool to ‘paint’ with. 
   Soa J.Hwang deliberately reinvents and extends the boundaries and experience of painting, embracing it as an evolutionary medium. 

   This new body of work reflects on the life cycle, the myths, and ideologies we create to understand reality and each other. Hwang conjures digital illusions, morphing fact and fiction through deceptive images that reveal our slippery relationship to identity, people, place, and the truth.



“Most of 8 new epic filmic works were created during the confines of lockdown, using a game engine called Unity. I think all of us have experienced time differently during the pandemic. Our relationships with each other have intensified, either through proximity, distance, loss, or desire. I was considering the challenge of seeing things from each other’s perspective, how time, memory, and experience shape the way we relate, recall, and behave. 

The pandemic and subsequent paradigm shift in society and culture have revealed the possibilities of technology to connect us, but also the beauty and fragility embodied in every day, in nature, the human touch, friends, family.. 

I think of these works as manipulated paintings. As the layers, sensation, and narrative unfold I want the audience to connect their own fragments of experience and memories and they enjoy the process of constructing and deconstructing their impact and relation to time and the creative process”.  

                                                                                                              Soa J. Hwang

   British-Korean artist Soa J. Hwang takes visitors through a <Time + Machine > in a new immersive, interactive video installation.

   No viewer will experience the same story. Using a depth camera RealSense D400

to read the presence of each visitor, the large sumptuous projections are conjured from a bespoke algorithm, programmed to respond to the time that the audience spends with the artwork.

   Prescience and movement will manipulate how the narrative unfolds across nine ‘virtual paintings’. The length of their attendance will impact on their sensorial experience, encounters, and standpoint. They will each affect their association with the speed and scale of images, shapes, patterns, and objects. Meaning, colour, forms will weave together, dissolve, ebb, and flow in a vivid fragmentation of memory and matter.

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