483 Lines Second Edition

‹483 Lines Second Edition›(2015) which mourns the end of analogue images is a work of installing analogue videos in the width of 16 meters. Kimchi and Chips, duo who work in Seoul and the UK as bases takes strategy of the opposite, which uses light and make static objects look like moving. After the second World War, analogue broadcasting came to an end, and afterwards, NTSC broadcasting standard opened the era of new images. NTSC standard adjusts 483 light lines accumulated from bottom to top of television screen and creates one video image. Eccentric image which appears as white transmitted lights shine slim threads resembles interference of analogue television screen. Wavelengths and particles of light crossing the screen make flickering patterns.

Each of the 483 lines filling up the space is an independent entity as well as what composes the entire image. As this shows, Kimchi and Chips mainly uses the motif which causes experiences of two different dimensions to occur simultaneously. Fluctuating panorama image is in contrast with materialism of slim lines. The work creates analogue media by using delicately spreading light, games of geometric shapes, and threads.

Besides laws of lights and physics, Kimchi and Chips learns new technologies and applies them to the works. Representative works include <wall of lights>(2014~), installation work which arranges lots of concave mirrors, projects light, and facilitates this. Son Mimi is a co-founder of Kimchi and Chips, a studio for experimental art, design and technology, which is working in Seoul as a base, and has displayed works in Seoul, Tokyo, Barcelona, and Arhus of Denmark. Recently, they are conducting researches on effects of technologies through emotional and tactual interaction and creative approaches for the future life.

Elliot Woods from Manchester is a digital media artist, technician, curator and educator. With Son Mimi, he cofounded Kimchi and Chips, and conducts researches on the future of interaction between visual design technologies and human beings through equipment like projector, camera, and graphic computation. In addition, he is carrying forward projects to conduct practices regarding digital media art and regarding digital media art, and to facilitate communication between contemporary art and culture while working as a curator of screen lab residency and screen lab conference program.