I believe physical art gallery in the real world is limited to exhibit emerging new-media-art (including my own computational media artwork). Therefore, I always wanted to build a VR Gallery to suggest a new way of exhibiting and archiving art works (for designers, for students, for artists, for recruitment, for collaboration).
I will design and build a primitive form of experimental virtual room (Gallery) for a future when there will be a need for a place for artworks and experiences that are optimized in virtual environments. I will also create a digital art installation to prove the needs of Virtual gallery.
This will be my NYU ITP Thesis Topic.
“Art Gallery“ is very ancient form of showing artwork. Therefore VR Gallery does not have to look like physical galleries in real life. I will come up with a new displaying and navigating method optimized for virtual environment so that audience can fully enjoy their experience.
2020
The Menagerie - Cannes XR Festival (Social VR Experience gallery Platform)
TouchDesigner works I’ve done at NYU MPS ITP
I felt limitation of 2D screen to fully exhibit my recent works. I wanted to have my own venue where I can play with Spatial art, sound, and digital installation.
Generative art
Live image processing
New-form of art
2019
Idea sketch from Synthetic Architecture class from NYU MPS ITP
Artwork for virtual environment.
Viewer can walk into the Art works.
Viewer can see, feel, interact, and experience with the historical narration and artistic-al values of masterpieces.
2017
Thesis project Parsons School of Design(Communication Design)
VR and AR optimized typeface
I suggested needs of new writing systems for virtual environments.
Virtual spaces enable many things that cannot happen in the real world. While coded and interactive fonts are beginning to emerge for use on screen and in print, they have limitations in digesting the immense directional and interactive possibility of the virtual in three dimensions. Virtual typefaces can incorporate the same features as two dimensional typefaces (color, stroke width, plane width) but can also take advantage of a dynamic view interaction where angle of viewing is a variable, rather than simply orthogonal to the reading surface.
Virtual Character Recognition A and B (VCR-A/B) — a nod to Adrian Frutiger’s OCR-A/OCR-B typefaces—are two experimental typefaces designed for a future when there will be a need for writing that can be recognized not only in the real world, but also in the virtual. To perform in virtual environments this typeface should be legible in different angles, from the top and bottom, and from left to right. This typeface VCR-A/B uses a polysymmetric cube, instead of line, to form recognizable characters. The font is monospaced with added features in the depth of the letter. VCR-A/B is a font for people to feel and experience more than just to read.
I also curated VR Gallery exhibition using Oculus Rift.
2015
Works from Sophomore year at Parsons School of Design (BFA COMMUNICATION DESIGN)
I understand static, physical artwork itself has a artistic value
because it is a capture of a moment, it implies so many emotions, feelings, movement, narration. BUT! not always.
I tried to demonstrate virtual space(digital way) to exhibit, archive physical artworks.
2009 -2012
Rhode Island School of Design Home Test (Use front and back of the paper)
I could tell I have been obsessed with Virtual Space from my paintings from the past.
or Maybe I have a virtual world in my imagination that I want to show to the world.
Self-Portrait
Space/DNA/Science/Technology/Art/Color/Network/Identity/Imagination/Math/Computer/Communication/Origin/
