Graphic novel <The birth of the myth of a clock flower> is the most basic scenario of 'Garden of Shadow.' The designer used a visual material, shadow, to study the metaphysical concept of time and light.
Since shadows emerge from the interaction between light and object, they are the evidence of being material and not just abstract. Light is an immaterial matter that reveals all other substances. Where there is light, everything with mass, from elephants to molecules, gets a shadow. In a universe where light is natural, shadows are evidence of existence. To tell the complex story more simply, the designer created graphic scenarios. The graphic novel contains three issues and stories based on the relationship between the three elements of 'light, object, and shadow.' Each scenario resulted in paintings and objects, and <The birth of the myth of a clock flower> is the first story of the three scenarios.
In the graphic novel <The birth of the myth of a clock flower>, a village uses a sundial. Using the principle that one light creates one shadow, the villagers made a sundial. They regarded the movement of the shadows as 'time' and followed it. Humans put the concept on the shadow to understand time, which is non-substantial. The clock hand we use today results from the evolution of the shadows created by gnomon.
Humans could finally perceive the existence of something through the shadow, numbered the ends of the shadows, and subordinate themselves to the concept. Shadows can thus be tools to understand the relationships humans form with different concepts and objects.
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www.chanbyulpark.comSince shadows emerge from the interaction between light and object, they are the evidence of being material and not just abstract. Light is an immaterial matter that reveals all other substances. Where there is light, everything with mass, from elephants to molecules, gets a shadow. In a universe where light is natural, shadows are evidence of existence. To tell the complex story more simply, the designer created graphic scenarios. The graphic novel contains three issues and stories based on the relationship between the three elements of 'light, object, and shadow.' Each scenario resulted in paintings and objects, and <The birth of the myth of a clock flower> is the first story of the three scenarios.
In the graphic novel <The birth of the myth of a clock flower>, a village uses a sundial. Using the principle that one light creates one shadow, the villagers made a sundial. They regarded the movement of the shadows as 'time' and followed it. Humans put the concept on the shadow to understand time, which is non-substantial. The clock hand we use today results from the evolution of the shadows created by gnomon.
Humans could finally perceive the existence of something through the shadow, numbered the ends of the shadows, and subordinate themselves to the concept. Shadows can thus be tools to understand the relationships humans form with different concepts and objects.
Instagram_@chanbyulpark
chanbyulpark@gmail.com
Chanbyul
Park︎︎︎
Designer from South Korea based in Eindhoven, the Netherlands. After completing her Bachelor's studies in Industrial Design at Ewha Womans University in Seoul, she majored in Contextual Design at Design Academy Eindhoven, where she obtained her Master's degree.
As an artist-designer, Park is interested in recording her perspective on the order of nature on two- or three-dimensional objects. Cubism and Impressionism are examples of how painters portrayed the world from their perspectives on drawings. In writing, such a portrayal is achieved through various types of literature, such as poems and novels. By researching these different ways of documenting the world, Park has established her unique way of recording how she interprets the world in her works. These works include paintings, objects, and visual novels.
Designer from South Korea based in Eindhoven, the Netherlands. After completing her Bachelor's studies in Industrial Design at Ewha Womans University in Seoul, she majored in Contextual Design at Design Academy Eindhoven, where she obtained her Master's degree.
As an artist-designer, Park is interested in recording her perspective on the order of nature on two- or three-dimensional objects. Cubism and Impressionism are examples of how painters portrayed the world from their perspectives on drawings. In writing, such a portrayal is achieved through various types of literature, such as poems and novels. By researching these different ways of documenting the world, Park has established her unique way of recording how she interprets the world in her works. These works include paintings, objects, and visual novels.
박찬별︎︎︎
네덜란드 아인트호벤에 기반을 둔 한국 출신 디자이너이자 예술가. 2017년 이화여자대학교 산업디자인 학사 과정을 마친 뒤, 2021년 디자인아카데미 아인트호벤에서 Contextual Design 석사 학위를 받았다.
예술가 그리고 디자이너로서 작가 박찬별은 주로 세상을 2차원 또는 3차원 물체에 기록하는 데 관심이 있다. 세상은 3차원으로 구성되어 있지만, 자세히 들여다보면 우리가 삶에서 기록을 행하는 도구들은 대부분 2차원의 형식을 띠고 있다. 작가 박찬별은 자신이 속해있는 3차원의 세상을 2차원에 기록하는 방법과 그것을 다시 3차원의 형태로 치환하는 작업을 연구한다. 화가들은 입체파, 인상주의와 같은 화풍으로 자신들의 세상을 그림에 묘사해왔고 작가들은 시, 소설, 수필과 같은 형식을 이용해 그들의 세상을 기록한다. 작가 박찬별은 그들이 사용했던 기록의 방법을 재탐구하는데 흥미가 있으며, 더 나아가 자신만의 방법으로 세상을 기록하고자 한다.
네덜란드 아인트호벤에 기반을 둔 한국 출신 디자이너이자 예술가. 2017년 이화여자대학교 산업디자인 학사 과정을 마친 뒤, 2021년 디자인아카데미 아인트호벤에서 Contextual Design 석사 학위를 받았다.
예술가 그리고 디자이너로서 작가 박찬별은 주로 세상을 2차원 또는 3차원 물체에 기록하는 데 관심이 있다. 세상은 3차원으로 구성되어 있지만, 자세히 들여다보면 우리가 삶에서 기록을 행하는 도구들은 대부분 2차원의 형식을 띠고 있다. 작가 박찬별은 자신이 속해있는 3차원의 세상을 2차원에 기록하는 방법과 그것을 다시 3차원의 형태로 치환하는 작업을 연구한다. 화가들은 입체파, 인상주의와 같은 화풍으로 자신들의 세상을 그림에 묘사해왔고 작가들은 시, 소설, 수필과 같은 형식을 이용해 그들의 세상을 기록한다. 작가 박찬별은 그들이 사용했던 기록의 방법을 재탐구하는데 흥미가 있으며, 더 나아가 자신만의 방법으로 세상을 기록하고자 한다.
