Jaejoon Jang
“Using the everyday materials is a similar transition to writing a poem. I am interested in the fact that the different kinds of experiences people have in life and therefore attribute to objects.”
Interview by Brooke Hailey Hoffert
Could you tell us a bit about yourself and your background? Where did you study?
I was born in South Korea. First, I studied mechanical engineering in Hongik university in Seoul, South Korea, but I didn’t finish it. I came to Baltimore, MD to study art, and I completed an M.F.A. and B.F.A. at the Maryland Institute College of Art in Baltimore. Currently, I live and work in Brooklyn, NY and Baltimore, MD. I have been back and forth both places. I participated in the Vermont Studio Center Residency (VT), MASS MoCA Residency (MA), Carrie Able Gallery Artists In Residence (NY) and NYFA Immigrant Artist Program.
What artwork have you seen recently that has resonated with you?
Tony Feher! I have been influenced by his use of humble and mundane materials. His blue tape window piece is one of my favorites.
I also want to resemble Martin creed’s sense of humor and surprise in his artworks.
Your art revolves around everyday materials. What inspired you to transform familiar everyday objects the way you do?
Using the everyday materials is a similar transition to writing a poem. I am interested in the fact that the different kinds of experiences people have in life and therefore attribute to objects. To me, everyday objects with connotations and narratives are very inspiring.
Socio-political, philosophical, cultural and scientific associations abound through the open metaphors and potential narratives created by my light, witty touch. For example, MY NOSE WILL GROW NOW, 2019 shows the paradox which is called Pinocchio paradox(also known as Liar paradox) arises when Pinocchio says "My nose will grow now". PLATYPUS IS VERY WEIRD, 2020 is inspired by the study that found that the platypus has a "fascinating combination of reptilian and mammalian characters. For the lottery ticket project ($10,000 Bonus Cash), 2019, I bought two lottery tickets, and I scratched just one. I wanted to compare the probabilities and expectations between two tickets. Star2, 2020 is quite straightforward.
PLATYPUS IS VERY WEIRD, 2020
Lottery Ticket Project ($10,000 Bonus Cash), 2019
MY NOSE WILL GROW NOW, 2019
Star2, 2020
Star1, 2020
You use photography to capture the mundane and turn them into small experiences. What is your process like when planning your photographs?
My work captures, through the materials, a sense of the ephemeral. Some of my work will likely be destroyed in a few days. Some works exist only in a few seconds.
Photography is a very good option to capture this instant moment. FLAME HAS NO SHADOW, 2018 is a photography and loop video. which literally shows the moment that flame has no shadow. PEEL, 2019 is a glass of water and there is an orange peel floating on the water. It is very fragile work, so sometimes the orange peel sinks to the bottom. With photography, I can show the moment which I really intend.
I am not considering myself as a photographer, so I prefer to show actual physical work, but sometimes photography would work better.
Your work touches upon scientific associations through your inclusion of starfish, turtle shells, and skulls. Can you expand on that interest?
Actually, I am interested in many scientific topics and studies. For me, some scientific phenomena/facts seem like very art-related. Recently, I watched a short video of a lobster that has a biological eternal life. It dies of accidental death only, not natural death like getting old. This made me start to think about the relationship between cycles of life and death. Simply, death itself is present in my work, such as starfish, turtle shells, or skulls.
I transform the objects through manipulations and arrangements such as juxtapositions, reordering, merging, and substitution. The contrast through the manipulation between the organic and the artificial objects also represents the relationships between cycles of consumption and disuse and comparison between capitalism and communism. In the work, the original function of the object is impaired; the Starbucks cup is filled with the starfishes ; the human skeleton is contained in the backpack; the turtle shell is tucked between white bread.
SANDWICH, 2020
FLAME HAS NO SHADOW, 2018
Peel, 2019
Tell us a bit about how you spend your day / studio routine? What is your studio like?
I am a quite regular human. I wake up around 10am and grab iced coffee and arrive at the studio around 10:30am. Although my works don't involve a lot of physical labor, studio practice is very essential to me, because I can be very honest in my studio. Being in the studio by myself is the biggest inspiration to me. I think that my studio is where both the processes and results of work are shown. I am more interested in the process rather than just the outcome of the artwork.
The development of new pieces typically starts in the studio. In my studio, I research, read and watch many recent news and issues. I organize my thoughts by sketching on the paper. I experiment with materials and objects out of my finds and. I read and discover visual metaphors of objects. However, I don’t finalize my work in my studio. I make many important decisions during installation or even at the last minute.
Is there anything new and exciting in the pipeline you would like to tell us about?
This is a very tough and hard time for everyone, especially for artists. I had many cancellations and delays of exhibitions and residency programs this year(much like everyone else’s). I am trying to keep positive. Maybe it is a very good time to step back and take a rest from too much art. Art world is changing right now and I will have to think about it and cope with it.
All images are courtesy of the artist
Date of publication: 02/09/20
