Hkason
integrates specialized training in painting, media, and fashion to construct a
transmedia idiom. As seen in The in between
Gesture and in the collaboration with Dew
Kim, Armored Evolver (2020), wearable sculpture
transfers bodily energy into sculptural action through the physical operations
of “wearing/fastening.” The repetition of “detachment–reattachment,” the
mutability of fastening methods, and the optics/mechanics of
reflective/transparent/elastic materials (neoprene, wire, film, PVC, urethane,
etc.) are woven into content, composing a neutral zone between body and
non-body, organic and mechanical.
The
exhibition 《Gametophyte》 becomes a turning point in which installation is itself both
performer and stage. The water surface of the tank and the mirror doors,
together with immaterial elements—waves, haze, and light—shape a dramaturgy of
“introduction–build-up–climax–subsidence,” while the audience’s own movement is
absorbed as choreography.
In 《Mirror and Cloak》, motorized
structures invoke the fashion lexicon of “turn–pose–walk,” activating the
“backstage” through spotlights, shadows, and collaborative sound. The “spatial
drawing” formed by multiple reflections extends the planar line of the early
drawing series into a spatial vector.
Crip
Body produces a new grammar of gesture through the
folding/unfolding of multilayer artificial joints and reflective panels,
expanding the radius of wear and coupling bodily regeneration, homing, and
adaptability with mechanical prosthesis. Floating Bodily
Particles resets touch, sight, and hearing in a weightless state
on 37°C water, softening the boundary between the body’s interior/exterior and
turning sensory lack into a generative condition of content. In short, Hkason
integrates material properties (reflection, transparency, pliability),
mechanical drive (motors, joints), stage technologies (lighting, haze, water
surface), and audience movement (as choreography) to build a simultaneous
system in which “form = content.”
