www.clickscrollzoom.com
Artist
.pic

Those who Google .pic encounter a vast number of random image files. It does not matter if the visitors of @copic.pic were purposefully searching for the account or stumbled upon it with a couple of instagram taps; whether they were actually looking for something is also insignificant. No matter how they got there, it begins to dawn upon the visitors that .pic is actually a creative team formed by Sang-ho Noh and Hyeon-su Jeon. Sang-ho Noh, an artist who brings virtual images into the offline space, and Hyeon-su Jeon, a 3D animation director, work together in reproducing memes and uploading them to scattered work accounts. The various Memes, which can only thrive with public attention, stimulate the viewers with the unreal reality of 3D and repeated meaningless movements.
(02) (01)
Artist
.pic

Those who Google .pic encounter a vast number of random image files. It does not matter if the visitors of @copic.pic were purposefully searching for the account or stumbled upon it with a couple of instagram taps; whether they were actually looking for something is also insignificant. No matter how they got there, it begins to dawn upon the visitors that .pic is actually a creative team formed by Sang-ho Noh and Hyeon-su Jeon. Sang-ho Noh, an artist who brings virtual images into the offline space, and Hyeon-su Jeon, a 3D animation director, work together in reproducing memes and uploading them to scattered work accounts. The various Memes, which can only thrive with public attention, stimulate the viewers with the unreal reality of 3D and repeated meaningless movements.
Curatorial Essay
- On Perspective: Completing the Narrative -

Our life's narrative is always told from the first-person point of view. At times we are the protagonists; at other times we play a supporting role, distancing ourselves from others. If there is one thing that is utterly impossible in our real-life narrative, it is to be something other than 'I'; to tell the tale from an omniscient view. We can only be omniscient narrators in a dream, or in a fabricated world built from imagination.

Hence the omniscient point of view is the most artificial, and yet the most fantastic perspective. It is one of the privileges rightfully given to a creator, an artistic experience mediated by the creator's work. An artist not only perceives all the events of his world and the emotions of its characters, but also conceives a future that the art-viewer cannot foresee. Omniscience belongs to none other than the artist; but a viewer is granted a second-hand view through the artist's work. Thus perspective is an alluring element of an artwork. Ultimate harmony is accomplished as the viewer steps in to fill the narrator's place.

The viewer is the last piece of the puzzle, making the work a complete whole. Artists .pic and Monica Kim each establishes a creative world in their own way and awaits our participation. As a manufacturer, .pic plays the function of a systemized factory and receives orders from buyers. Kim details her journey in The Disquiet Universe and invites us to join in. Viewers rise as independent entities of an artistic experience with their response and participation, exploring the art at their will.

The viewer's role does not end there. clickscrollzoom.com builds a bridge between artists and viewers, enabling communication in the age of the epidemic. As long as there are viewers, the creative worldview of .pic and Monica Kim will live on. Viewers are welcomed to click, scroll, and zoom-in all parts of the exhibition to discover the pieces of their own puzzles.

Curator Ingyeong Kim, Rinn Yun
Individual Work Essay
These characters, deprived of the slightest space to mistakenly call a world, unconsciously promote a self-identity or manifesto. Their dialogue, not translated across a space but plastered against a wall of welded images, are once more alienated and lose meaning; they are solidified as advertising slogans and fashion statements endorsing self-identity.
- from the Artist Statement

Visitors at once come face-to-face with intense and devastating scenes upon entering. In Me on Fire, an avatar surrounded by seemingly irrelevant objects unceremoniously sets itself on fire. The protagonist of the following Heart Attack! blasts hearts from a bionic machine gun. Visitors are exposed to a variety of stimuli: The characters’ serene faces in stark contrast with their destructive actions; the sound of a snapping fire that is realistic to the point of being surreal; and the crack of gunfire frequently featured in video games.

Piecing together a conclusive meaning from these elements, however, is not so easy. Only a faint sensation remains in the end. Bewildered visitors may replay the video, but they find no narrative that serves as an explanation. This, as a matter of fact, is a direct reflection of the creators’ purpose; they assigned no meaning to the actions and relationships of their characters. Works featured in. pic’s Still Life series, to quote the artists, are ‘pseudo-memes.’ A meme must fight for its status, striving to keep afloat in a flood of contents. Thus the provocative and violent actions of Still Life’s avatars may be seen as a strategy for survival, a struggle against extinction. .pic aims to seize the viewers’ hearts, (as seen in Heart Attack!) and capture their attention with a flaming-hot controversy (as seen in Me on Fire.)

Among the Still Life series, Me on Fire and Heart Attack! outline the flow of pre-made products, moving from the virtual world to reality. Viewers can purchase virtual products advertised by the avatars via Google Forms; .pic processes the order and manufactures the products. The avatars, seemingly acting with free will, are mere puppets manipulated by the manufacturer. The liberty granted to them is restricted to a space within a frame; and even there, their movements are captured through screenshots and permanently printed onto products as flattened 2D images. Buyers upload images and videos endorsing the goods onto their personal accounts, and their followers respond with a heart. And thus the purchasers’ embodiments- or avatars, they may be called- move from the virtual to the physical, then return to the virtual world. Another precarious circle of life begins for the pseudo-meme.

Curator Ingyeong Kim, Rinn Yun