When I first saw Albrecht Dürer's the great German Renaissance artist, early work "Apocalypse with Pictures, 1498" at a special exhibition held at Hessisches Landesmuseum in Darmstadt, Germany. I could feel the passion of young Dürer like piercing my heart as if I touched the burning fire first time in my life and immediately recalled my childhood viewing the world only from the perspective of encyclopedia, black and white and fragmented information like pieces of a jigsaw puzzle. Moreover, I realized I am still greatly in awe of Renaissancehumanism.My imaginary footnotes were indexed and scribbled under his woodcuts, reminded me of neo-medievalism from Umberto Eco influenced by the radical globalization over the past decades. It seems to me we have lost sight of our destination by imprudently pursuing a large amount of information whilst ignoring the essence of it. And terms like "humanism" and "truth" have become antiquated words that are more akin to the fossils in a museum and "absolute rationality" has also lost its value like a barren surface of the Moon absent of the excitement of exploration. The research of the masterpieces of "Durer" seemed worthwhile to me because it caused me, as female Asian artist who lives in the era of frustration and the fragmented society and becomes the others involuntarily in history by the Western with a dualistic view of "us" – those in the inner circle – versus "others" – those outside of one's inner circle –, an incredible generational, cultural, geographical and societal gap. Furthermore, I felt there is enough reasons for me to share this study with people in my homeland where appears to be in the desperate need of romanticismwhen Postmodernismhas become old-fashioned. An unexpected return to Korea during the research in Germany has somewhat changed the meaning of the study, however it was eventually my Travel in Germany or plotting myself on the coordinates both as an artist and individual.
Text courtesy Art Delight Gallery.