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Anatify (æˈnətɪfaɪ) v.
On language that breaks language Work Index
2021 - Anatify Ex.1 Word Maker 2022 - Anatify Ex.2 Don't Believe Me, I'm Eul - Anatify Ex.3 Anavrin - Anatify Ex.4 Anamoturge - Anatify Ex.5 Here Stands a Thousand Years 2024 - Anatify Ex.6 Pesh (Memento Mori) - Anatify Ex.7 The Giver Artist Statement
May 29th, 2023 Back in his academic days, a professor introduced Eul to the disability support center. The professor considered his persistent silence to be a speech disorder. Although the behavior was not congenital, Eul decided not to spill the details, embracing the quiet for a while. In a world drowning in an excess of words, Eul had felt a profound sense of inflammation. "Is language a mere facade, or does it authentically connect with our reality?" These contemplations naturally translated into his artistic endeavors. Digging into the layers of the Anatify series, you quickly notice a lack of direct correspondence between names and things. Either no entity aligns with the assigned name, no name points to a specific entity, or the pairing between the two is mismatched. This is where Eul dives into uncharted territory, undertaking unprecedented stitching between the signifier and the signified. "What am I once my name is lost?" In the artwork 'Don't Believe Me, I'm Eul,' Eul generously lends his name to acquaintances. Consequently, people encounter different versions of Eul each time —varying age, gender, and race. The work will persist until doubt clouds even the authenticity of the real Eul. Following this exploration, Eul's journey takes an intriguing turn as he befriends someone with epilepsy. Marijuana, hailed as a cure by his friend, was simultaneously deemed a harmful drug by others (especially people in Asian countries). Inspired by this contrasting perspective on marijuana, Eul delves into the concept that the subject of 'medicine' acts as an insightful mirror, reflecting the observer's mindset. This contemplation leads to the creation of an ingestible drug, displayed under the non-existent name ‘Anavrin.’ The mysterious nature of this medicine sparks active suspicion and linguistic interaction in the viewer's mind. Ultimately, depending on individual judgments, Anavrin can be either a remedy or a potentially harmful substance. In Anatify, Eul's primary creative approach often involves assigning new names to pre-existing objects. Comparable to Duchamp's labeling of a toilet as ‘Fountain’ or Manzoni's designating inflated balloons as ‘Artist's Breath,’ such acts of naming are commonplace in the realm of art. However, Eul distinguishes himself by actively embracing non-existent names such as ‘Anavrin,’ ‘Pesh,’ and ‘Anamoturge.’ While artists like Duchamp and Manzoni created a <New Language Binding> to enable a different perspective on the subject, Eul's emphasis lies in <Breaking the Binding> between objects and language. The artwork flowing through the crevices of broken language transcends the confines of predefined forms, evolving into liberated singular entities unrestricted by linguistic frames. At this time, the essence of the work doesn't take shape in the artist's studio; instead, it materializes dynamically in the audience's minds. |
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