Yiyun Kang

My practice-based research investigates the distinctive property of projection mapping as a creative medium in contemporary art. Since the beginning of this century, projection mapping has become increasingly popular. Yet, despite the number of projection mapping projects being executed, little in-depth research has been conducted on this medium. Lack of research results a misunderstanding on projection mapping that regards this medium as a separated tool, serving to decorate surfaces on three-dimensional volumes.  

 My research firstly attempts to reframe projection mapping as part of the continuum of projected moving-image work rather than a separate technique. Secondly, I attempt to discover projection mapping’s unique attributes that distinguish it from previous projected moving-image works, such as structural film, expanded cinema, and multi-screen video installations, in order to investigate it as a continuous yet novel medium in the continuum of projected moving-image art. I adopt the notion of embodiment from phenomenology (i.e., primarily from Maurice Merleau-Ponty) for my theoretical frame to elucidate the spatiality of projection mapping in a relationship between projection, digital moving-image, and space (as screen) and to explore how this rearranged relationship provokes the viewer’s active viewing mode.