I believe Visual language is the strongest communication tool to deliver the invisible idea to visible, through the human sense. Primarily, the photography has the signified which the event has already happened in the past. The moment we called “evidence of the past” constitutes the elements of the photography that make its aliveness and the movement in history. On the other hand, the photography is also an indication of the virtuality and the manifestation of the concept of the pretence. In this practice, I wanted to take two features of the photography and contrast two ideas of aliveness and the virtuality following the picture frame in fine art, and show the counterpart of the real to the reality we are living in through human eyes.

My previous research was about the picture frame which has a long history of fine art. Until the 18th century, the picture frame was signified of the ownership and individuation for the picture on the part of the surrounding. After modernisation and after Mondrian in fine art, the picture frame removed from the painting as a disturbance of the perceiving image. That moment, I believe, people started perceiving the idea and concept without the physical medium as a pure form. Today’s virtual phenomenon is not suddenly started but piled up from unframed conceptualisation. However, I believe the concept of the frame remained even in very virtualised society. For example, the zoo is one of the framed space in the city to maintain the “Human” and “Society” compare with “Animal” and “Wildness”. Objectified space, the zoo, is now the space where virtual image of the animal and physical evidence are coexisting. There are two part of the photography. First, where the human divided by frame as inner/reality and outer/real space. Second, the animal toy presented as a emotional present within the frame.

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Research Image of the Animals in Illustration