hyunjung an
ANIMATION & ILLUSTRATION
Reinterpretation of classic narratives and images
Based in Seoul, Republic of Korea
Bachelor of Arts, Department of Animation : Korea National University of Arts
The Snake Trilogy
The trilogy redefines the classic symbol of evil : Snake in a modern context.
During the reconstruction of classic narratives, rather than seeing from a single perspective of an evil role, the female characters (related to the image of the snake) are reinterpreted as a complex character who goes through the existentialist conflict.
Through the process of questioning the inertial beliefs that we have, we would be able to look inside our minds, living in the present.
<뱀> 3부작은 악의 고전적 상징 : 뱀 으로 묘사되었던 인물상을 새로운 시선에서 바라보며,
해당 서사가 인물을 담았던 프레임 : 선善과 악惡의 경계에 대해 질문한다.
위와 같이 관성적인 믿음 (상징)을 현대적인 맥락 속에서 재구성하는 과정을 통해 지금을 살아가는 우리의 내면을 들여다본다.
FILMWORK
Dreaming HanaH ( 2024 )
13' 04''
2d Digital / Oil painting
2023. 11 - 2024. 12
HanaH, who obsessively attaches importance to the value of the good(善),
descends from the heaven : idea to earth : reality as she discovers the hypocrisy in the world she lives in.
In the process of falling, she goes through abortion surgery,
that is, accepting death and returning to the origin – the state of nothingness(無).
Returning to an empty body, HanaH stands again in front of a world that has become meaningless.
On the empty canvas, HanaH paints a red old tree. She takes root in the earth through an image of the tree.
Even though she lost her leg to go up to a higher place, she exists as the snake closest to the ground(life).
Adam and Eve ( 2023 )
09' 57''
2d Digital / Cutout
2022. 03 - 2023. 06
One night, Adam disappears.
Looking for Adam, Eve enters the contraindicated woods that looks just like the forbidden fruit.
There she finds a well instead of Adam, and through the reflection, she confirms her self-image for the first time.
When she faces herself with her own eyes, not with the other’s (Adam’s) eyes, she fully accepts the desire to exist as one complete being.
Although she came out of Adam, she embrases Adam within herself.
Through the process of mixing into one, they become something different : the Snake.
Medusa ( 2022 )
05' 05''
2d Digital
2021. 08 - 2022. 01
<Medusa> reinterprets Medusa’s gaze (which converts a living human into a stone) into the gaze of the camera.
The characteristics of photography : freezing one moment from the linearly proceeding timeline and converting into a eternal visual image are linked to Medusa’s characteristics : Transforming dynamic life into a static form of inanimate matter,
and these two line of sight are related as a form of circle.
As a circulating figure with no ending point,
the circle-formed light functions as an epic tool to trap Jae-ho in a certain point of the past.
In this circle, Jae-ho’s trauma that occurred between the gap of the image and the film, the stationary memory and the passing time, is relieved in a new genre : the (psychological) play <Medusa>.
There, free from the camera lens and alone in the theater with no audience, Jae-ho looks into Medusa’s eyes and faces death. Through the process of accepting loss, Jae-ho ironically becomes able to ‘move’. He comes down from the stage and the monster from the myth disappears. Paradoxically he comes back to life by facing death.