A Study on the Poetic Expression of 'The Gaze' in Media Arts:
Focusing on the Works of unzi Kim
Lingyu Kuang and Hyung Gi Kim*
Graduate School of Advanced Imaging Science and Film, Chung-Ang University / Seoul, Korea
*Corresponding Author (unzi@cau.ac.kr)
Graduate School of Advanced Imaging Science and Film, Chung-Ang University / Seoul, Korea
*Corresponding Author (unzi@cau.ac.kr)
Abstract: This study explores the role of poetic expression in conveying the concept of “gaze” within media art, with a focus on the works of Korean artist unzi Kim. By examining the philosophical foundations laid by Sartre, Lacan, and Foucault, the research provides insight into the complex dimensions of “gaze” related to subjectivity, perception, and power. This study analyzes how unzi Kim’s artwork employs poetic expressions to reinterpret and expand these philosophical ideas. Through detailed analysis, this research demonstrates how poetic expression in media art can deepen the audience’s understanding of “gaze,” offering fresh perspectives on contemporary media art and enhancing its expressive potential.
Keywords: Gaze Theory, Poetic Expression, Media Art.
Received Apr. 9, 2024; accepted for publication Aug. 28, 2024; published online Sep. 30, 2024. DOI: 10.15323/techart.2024.9.11.3.1 / ISSN: 2288-9248
1. Introduction
In contemporary society, the term "gaze" is frequently discussed within the context of "male gaze towards females." Fundamentally, the concept of gaze involves a "gazer" and the "gazed upon." The latter is popularly perceived as occupying a lower position in the relationship. Currently, the interpretation of Michel Foucault's "gaze" as an element of power has gained widespread acceptance, leading to a predominantly negative connotation of the term. [1] Consequently, the word "gaze" often triggers a defensive state in individuals. This defensive posture involves shutting down emotions, halting thought processes, ceasing the pursuit of self-discovery, and only exposing a hardened exterior to the world. Such a state is evidently at odds with the intrinsic nature of art.
However, the concept of "gaze" holds a richer significance in cultural studies and can be conveyed to audiences through the poetic expression of art. Poetic expression is a crucial element in artistic creation. As the poet Hölderlin remarked, humans ought to "dwell poetically." This form of expression merges reality with illusion, objectivity with subjectivity, making it both intuitive and profound.
This study focuses on exploring the serious theoretical concept of "gaze" through the poetic expression in media art, providing a unique perspective distinct from the power-related male gaze. Poetic expression is not merely a visual communication but a profound articulation of self-awareness and self-exploration. In this study, poetic expression and gaze complement each other. Understanding poetic works requires gazing, and the selected works embody the themes of gaze theory. Therefore, in Chapter Two, this research examines the philosophical stances on gaze, emphasizing that gaze is not merely an act of seeing, but a question of the position of "consciousness." Subsequently, the study uses the works of the writer unzi Kim as an example to reveal how poetic expression transforms audience perception and stimulates introspection. Although the ambiguity of poetic expression leads to diverse interpretations, this diversity also reflects the richness of art. By exploring "gaze" and poetic expression, this study aims to unveil their unique value in artistic creation and reception, offering new perspectives for understanding contemporary media art and enriching its expressive and creative language.
2.Theoretical Considerations of “The Gaze”
In the nascent stages of philosophical inquiry, ancient Greek philosophers Plato and Aristotle recognized the foundational role of visual cognition. The superior position of visual perception among the senses is analogous to that of reason over irrationality, embodying an oppressive nature. Since the 20th century, Jean-Paul Sartre’s studies on the “gaze” have highlighted the relational dynamics between the self and others in a visual context. Both the observer and the observed hold a subjective status in each other's view, emphasizing the existence under mutual gaze. According to Jacques Lacan, the emergence of the subject begins at the conclusion of the mirror stage. However, the very existence of the subject is an illusion, with the gaze originating from an eternally unreachable other. Michel Foucault's research imprints the gaze with notions of knowledge and power. Within the visible realm, power is exercised through the gaze, which dominates sensory activities and pervades everyday life. The gaze thus represents a fundamental, underlying method of forming relationships between subjects and objects, self and others.
A. Sartre's "The One Who Looks At Me"
Sartre envisioned a scenario in which a person, driven by jealousy, curiosity, or other unsavory motives, stealthily presses an ear against a door and peers through the keyhole. In this state, he is nothing but a void. The scenes that may unfold behind the door are meant to be observed, and the conversations inside are intended to be heard. For him, the door and keyhole serve both as tools and obstacles, requiring cautious handling, such as peering from an angle. In this moment, "I do what I have to do."[2] There is no transcendent perspective to assign a definitive nature to his actions for judgment. However, everything changes abruptly when he hears footsteps in the corridor. He suddenly becomes aware of the gaze, marking a pivotal shift. The key to this transformation is his realization of another consciousness's presence, a state Sartre describes as "being-for the other."[3] This fundamental change means that, with the occurrence of the gaze, he now gains self-reflective consciousness and exists as himself. For Sartre, the gaze of the other plays a crucial role in enabling self-reflection. I liken this scenario to a "gaze," although Sartre himself used the term "The Look."[4]
Sartre defines the other as "the one who looks at me."[5] Everyone can experience the direct and intense presence brought about by the gaze of the other, an encounter that often elicits a sense of shame. In other words, once a person becomes aware of being under the gaze of the other, they realize the existence of the other beyond this world. The other does not gaze at you as if living in their own world; instead, they look directly at this world and you from their transcendent realm. When the other gazes at you, there is no distance between you, no separation by worldly objects or entities, only the fundamental distinction of the other as "the Other" and your essence. Therefore, the emergence of the other's gaze does not occur within the world, neither in "my" world nor in "the other's" world. The connection between you and another cannot possibly be an external relationship inherent to the world. Through the gaze of another, you receive a definitive proof that there exists a realm beyond this world.
Regarding the concept of the "gaze," Sartre's contributions can be summarized in three key aspects: First, he conducted a phenomenological analysis of the gaze, believing that the gaze of others makes us aware of both our existence and the existence of the other. Second, he pointed out that the gaze is crucial in the formation of self-consciousness; we develop self-awareness when we are under the gaze of others. Finally, he explored the relationship between the subject and the object. When we observe others, we too are placed under the spotlight on stage, becoming an appearance in the eyes of others. This dynamic sketches a complex and intricate map of existence between ourselves and others.
B. Lacan's “The Pre-existence to The Seen of a Given-to-be-seen”
The differences between Lacan and Sartre on the issue of the gaze are fundamental. In terms of the relationship between the eyes and the gaze, for Sartre, the gaze is not necessarily equated with the eyes, but for Lacan, the gaze is definitively not synonymous with the eyes. Regarding the structure of the gaze, in Sartre's view, it remains confined to a dualistic subject-object relationship. However, in Lacan's perspective, the gaze always exists within a triadic relationship: the subject, the visible object, and the gaze from the other, which does not coincide with the visible object. As for the effect of the gaze, in Sartre’s concept, the gaze annihilates the subject, reducing it to an object. In contrast, Lacan views this differently; the intervention of the gaze does not annihilate the subject but rather maintains its existence within the function of desire.
Sartre defines "the Other" as "the one who looks at me," while Merleau-Ponty defines "us" as "beings who are looked at." At first glance, this might seem to be a matter of differing emphases, but in reality, the differences are profound. Lacan argues that compared to his work in "La Phénomenologie de la perception," Merleau-Ponty made a significant leap forward in "Le Visible ci l'invisible." He moved beyond considering vision as merely a function of the eyes, emphasizing a gaze that precedes and transcends the act of looking and the eyes themselves.[6]
Merleau-Ponty believed that whether the observer is present or not during the act of gazing, once the observed becomes aware of being watched, they transform into the 'other.'[7] Simultaneously, this 'other' also perceives me as an object about to be observed. This implies that as the one being gazed upon, I am powerless to alter this situation. Linking this to Sartre's earlier discussion, the gaze established a subject-object dichotomy between myself and the other, with the other's gaze awakening a consciousness of my own existence as a subject. Gaze represents a form of observation that one has reason to believe in. Therefore, whether or not there is an actual other observing me, the mere imagined perception of being watched establishes the structure of the gaze. The moment I become aware of the gaze's existence, I lose my status as a subject and simultaneously become an object or ‘the other’ to someone else.
The dissociation between the eye and the gaze fundamentally represents a split between consciousness and the unconscious. Lacan points out that there are two closely related series: one involving the eye—representation—consciousness—subject, and the other involving the gaze—image—unconscious—object petit a. In the realm of vision, it is the repression of the fact that "we are beings who are looked at" that constitutes our consciousness. In other words, it is the eye's screening of the gaze that constructs human consciousness and subjectivity. Lacan notes that in the existence of the subject, not only is the subject looking, but they are also on display for the other to see. While the subject is conscious of the former, they are often unaware of the latter.[8]
Building upon Merleau-Ponty's concept of the "primacy of the gaze," Lacan further introduced the notion of being "given-to-be-seen."[9] This concept underscores that, regardless of the subject’s awareness or willingness, they are destined to be watched and gazed upon. The "given-to-be-seen" nature or the primacy of the gaze represents a fundamental ontological condition for the subject, being ubiquitous and essential. Our relationship with the world is primarily constituted through visual means, with the world presenting itself to us in forms and images. However, in this process of visual perception, there are always elements that slip away, elude capture, and silently communicate, escaping our consciousness—this is what is termed the "gaze." The gaze exists between us and the world; it is unconscious, preceding the subject's consciousness, yet it forms the prerequisite for the subject's existence. Therefore, being "given-to-be-seen" signifies a fundamental situation of the subject’s existence. We are born to endure the gaze of sight, to become the object of the other, even against our wishes. This breaks the subject’s self-sufficiency and reveals that the subject also has an aspect of being the object of the gaze. As a priori structure, the gaze permeates the relationship between the subject and the world and is a key force in the construction of subjectivity.
C. Foucault's “The Eyes of Power”
In Lacan's terms, the gaze gradually assumes a positive connotation, as it aids in the imaginative construction of the subject, temporarily endowing the subject with a sense of existence. However, in the context of socialization, the "gaze" is often regarded as a manner of viewing imbued with the will to power. As Jonathan Schroeder articulates, "The gaze implies more than to look; it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze." Often, the gaze imparts to the observer a power of possession and control over the observed, adopting a voyeuristic perspective.
In his book "Discipline and Punish," Foucault uses Jeremy Bentham's modern prison model to illustrate how power mechanisms operate through the gaze. According to Bentham’s concept, prisoners should be constantly aware of being exposed to the gaze of others, which allows power to operate automatically due to its visibility yet unknowability. That is, prisoners constantly see the central watchtower that may be scrutinizing them, but cannot ascertain whether they are actually being watched. "The non-personal, panoptic gaze acts as an effective tool for a disciplinary society and represents 'the eye of power.' It turns individuals into their own supervisors." Under the influence of disciplinary power, the gaze is not only external but also internalized as self-surveillance. Individuals internalize the power gaze, forming habits of self-examination and self-judgment, and become "carriers of power relations." The gaze thus produces the "subject under surveillance."[10]
In summary, from Foucault's perspective, the gaze incorporates individuals into practices of visualization, objectification, and normalization, making them subjects of power management and transformation. The gaze serves as a nexus between power, knowledge, and the individual in modern society, functioning both as an instrument of domination and as an opportunity for resistance.
Through the exploration of the "gaze" theory as discussed by Sartre, Lacan, and Foucault, we can see that "gaze" is far more than a simple visual act. It involves the positioning and shifting of "consciousness," and consequently pertains to the essence of "existence." The "gaze" reveals the tense relationship between subjective consciousness and the objective world. When we gaze at others, consciousness drifts outside the body, projecting onto the gazed object, placing the subject in a state of free unconsciousness. However, once we become aware of being gazed upon, consciousness "collapses" back into the body, and behavior becomes constrained. This shift in the position of consciousness affects the subject's mode of existence and their experience of the world. Thus, the "gaze" is not a static concept but a dynamic process, involving the mutual transformation of consciousness, existence, and the positions of subject and object. This transformation can even be understood through the lens of quantum mechanics—consciousness functions like a measurement process, defining and "creating" the so-called objective world through "thought." Therefore, the "gaze" reveals a profound ontological issue: the subject and object are mutually constitutive, as are consciousness and the world. They cannot be simply opposed nor can consciousness and the world be separated; they are interdependent and mutually defining. This is the fundamental revelation of the concept of the "gaze."
3. Analysis of the Poetic Expression of "The Gaze"
The deeper the investigation into theory, the more abstruse it tends to become. However, the poetic expression in art has the capacity to circumvent rationality and resonate directly with the sensibilities of the audience, achieving an effect of intuitive understanding. Since the 1980s, Korean artist unzi Kim has been continuously experimenting and creating in the field of new media art. As one of the early pioneers of new media art in Korea, his work has witnessed the evolution of media art from video to artificial intelligence. "Gaze" has consistently been a significant theme in his work. This chapter analyzes six representative works by unzi Kim that express the theme of "gaze." The selected works span from 2002 to 2018, effectively illustrating the different dimensions of "gaze" discussed in Chapter Two, including subjectivity construction, ontology, and power dynamics. As a multimedia experimental artist, unzi Kim's works integrate various artistic forms such as single-channel video, projection mapping, and 3D sculpture, with overall durations ranging from a few minutes to continuous loops. These works have been exhibited in galleries multiple times. Therefore, this study uses unzi Kim's works to gain a deeper understanding of "gaze" and how poetic expression can more effectively convey the artist's intent. Herein lies the significance of art.
A. Face and The Gaze
Unzi Kim's work "보다 보이다" (Seeing and Being Seen) depicts a woman adjusting her appearance in front of a camera. This act of "display" initially makes the viewer feel uneasy, as the face in the image seems to be gazing directly at the audience, making them suddenly aware of their own presence. The woman in the video continuously adjusts her hair, her facial expressions oscillating between satisfaction and dissatisfaction. Gradually, the viewer realizes they are like a person hiding behind the mirror, while the woman in the image is in a state of self-reflection, clearly unable to see the audience. Here, as Sartre describes, the viewer temporarily gains the dominant position in the "gaze." This work explores the theme of "seeing" and "being seen." The woman gazes at herself in the mirror; she is not only "seeing" her appearance but also "being seen" and presenting herself. As Lacan pointed out, on the level of consciousness, we are perpetually watching and can only watch from one perspective, unaware that we are always simultaneously being watched, and being seen through. However, this omnipresence of the gaze is precisely what is ignored and excluded, and thus we are not conscious of it.
Lacan further points out that even the seemingly active act of looking is always conditioned by the gaze of the other, as we always regulate our own perception of the world and ourselves according to the gaze of the other, in order to represent and depict ourselves. But all of this is premised on the occlusion of the gaze. It is in this sense that Lacan says that if, like Valéry's Monsieur Teste, we think that when we face a mirror, it is we who see ourselves looking at ourselves, this is merely an illusion. The truth is: I always look at myself according to the gaze of the other; when I think it is I who see myself looking at myself, it is actually the other who is looking at me.[11]
Fig. 1. Seeing and Being Seen, single Channel Video, 4”
In this work, the artist conveys the notion that we are not truly familiar with our appearances. The woman in front of the mirror repeatedly presents and observes her image, and discovers that no matter how intently she gazes, her remembered self always differs from her mirrored self. With this poetic expression, the artist suggests that we can only approximate our true self but can never fully see or grasp it. As the romantic poet Wordsworth states, “Poetry is the spontaneous overflow of powerful feelings. It originates from emotions recollected in tranquility.”[5] The artist meditates these emotions until a reaction occurs, causing tranquility to gradually fade, and a similar emotion arises in the artist’s mind. This work, presented as a dynamic video, vividly recreates the process of individuals continuously seeking and contemplating their self-image under the influence of the “gaze,” prompting us to reflect on the essence of the “self.”
The work Visage employs a 3D rear-projection screen of real scale, using a model’s video recording as the projected image to construct a virtual space. Owing to the changes in light patterns caused by the shifting expressions, the viewer can sense a certain realism. Although the virtual cannot fully become reality, its presence makes the actual seem even more realistic. We often question the accuracy of our memories; however, the image before us presents the reality of a distant world, granting existence to previously nonexistent elements. The 30*80*180 cm 3D projection mapping creates a virtual space that appears within reach. Subtle changes in facial expressions captured through video projection provide the virtual image with a lifelike presence. Although the virtual realm cannot fully replicate reality, its realistic depiction enhances our perception of the real world. The tension between the virtual and the real prompts viewers to reconsider the boundaries between experience and representation.
The work Visage employs a 3D rear-projection screen of real scale, using a model’s video recording as the projected image to construct a virtual space. Owing to the changes in light patterns caused by the shifting expressions, the viewer can sense a certain realism. Although the virtual cannot fully become reality, its presence makes the actual seem even more realistic. We often question the accuracy of our memories; however, the image before us presents the reality of a distant world, granting existence to previously nonexistent elements. The 30*80*180 cm 3D projection mapping creates a virtual space that appears within reach. Subtle changes in facial expressions captured through video projection provide the virtual image with a lifelike presence. Although the virtual realm cannot fully replicate reality, its realistic depiction enhances our perception of the real world. The tension between the virtual and the real prompts viewers to reconsider the boundaries between experience and representation.
Fig. 2. Visage, Projection Mapping on 3D facial rear Screen (Glass) 30x80x180 cm, 2016
In comparison to the previous work, this work more directly confronts the audience with the “gaze” emanating from the artwork. The massive scale of this Visage (face) leaves the viewer’s gaze with nowhere to escape. This small-scale “eye-to-eye” confrontation is a microcosm of human relations. The essence of my relationship with others is fundamentally one of the gaze. When experiencing the distance between myself and things or others, I come to realize that the other exists without distance from me. As Lacan states, “What determines me, at the most profound level, in the visible, is the gaze that is outside.”[6] In everyday life, we constantly observe but remain largely unaware of the extent to which we are continuously observed by others from various perspectives. This work places the omnipresent but often overlooked concept of “gaze” at the core of the viewer’s experience. The large scale and immediacy of the projected face compels viewers to confront the experience of being the object of observation. This direct confrontation with the “gaze,” typically an invisible and unacknowledged aspect of interpersonal interactions, forces viewers to recognize their role as the observed rather than the observer.
As the artist expresses, this work allows us to encounter his cognition and creations. The video sculpture, centered on the visage of a young Korean woman, blends the simulated space with digital realms, provoking contemplation in its viewers. In the dark, the illuminated female figure subtly changes her expression and appears as a transient visitor from another world.[7] Poetic expression originates from the objective world, but undergoes re-creation through the subjective realm. The relationship between expressed content and reality is not a direct correspondence; the work transcends reality. Poetic expression is the result of an objective reality’s beauty undergoing fission through an organic entity.
The gaze has become a dual-sided mirror of existence, not only reflecting our subjectivity but also imprisoning us in the role of an object within the view of others. As we observe in the world, we inevitably become entangled in a drama of interchanging roles between subject and object. We are simultaneously the audience on the stage and the display.
As the artist expresses, this work allows us to encounter his cognition and creations. The video sculpture, centered on the visage of a young Korean woman, blends the simulated space with digital realms, provoking contemplation in its viewers. In the dark, the illuminated female figure subtly changes her expression and appears as a transient visitor from another world.[7] Poetic expression originates from the objective world, but undergoes re-creation through the subjective realm. The relationship between expressed content and reality is not a direct correspondence; the work transcends reality. Poetic expression is the result of an objective reality’s beauty undergoing fission through an organic entity.
The gaze has become a dual-sided mirror of existence, not only reflecting our subjectivity but also imprisoning us in the role of an object within the view of others. As we observe in the world, we inevitably become entangled in a drama of interchanging roles between subject and object. We are simultaneously the audience on the stage and the display.
B. Concealment and The Gaze
This work, consisting of a framework of three screens, presents three perspectives on the female body. The screens created a frosted glass effect, rendering images with a strong sense of blur. From the audience’s viewpoint, it appears as though a woman is moving and colliding in a blurred space. Owing to the fuzziness of the images, viewers can only vaguely capture the contours of the woman’s form, struggling to clearly discern her facial features and movements. Here, viewers experience the voyeuristic sensation described by Sartre as “looking through a keyhole,” where consciousness and action become one. However, viewers may not be able to realize this. Their gaze is guided by their belief that this is what they ought to do. This semi-visible visual experience creates a sense of mystery and a space for imagination. In Lacanian terms, there is a “stain.”[8]
The key issue is not what the stain is but the viewer’s irresistible desire to know what it is. Consequently, blurred or obscured elements begin to gaze back at us. Strictly speaking, anything we gaze upon begins to gaze back at us. Nietzsche’s statement, “If you gaze long enough into an abyss, the abyss will gaze back into you,” captures this sentiment.[9] For this work, once viewers develop the desire to discern it, they can no longer remain detached observers but become deeply engaged.
The key issue is not what the stain is but the viewer’s irresistible desire to know what it is. Consequently, blurred or obscured elements begin to gaze back at us. Strictly speaking, anything we gaze upon begins to gaze back at us. Nietzsche’s statement, “If you gaze long enough into an abyss, the abyss will gaze back into you,” captures this sentiment.[9] For this work, once viewers develop the desire to discern it, they can no longer remain detached observers but become deeply engaged.
Fig. 3. Trinity, 3 OLED Displays (70”), Prism Structure, 3 Video installation, unzi, 2015
This is a profoundly poetic work, with intuition as the starting point for its creation. Humans possess emotional experiences connected not only to biological needs, but also to higher-level emotions linked to social and cultural contexts. As Sartre believed, “Emotion is a way for people to understand the world, capable of producing an imaginative change. It always involves a qualitative transformation of the world and is not always completely lear or discernible.”[10] The imaginative nature of emotions generates virtuality and ambiguity, and, coupled with the symbolic and flexible nature of the artwork’s elements, it defines the poetic ambiguity of this work.
This work explores the relationship between the body and space, and between reality and illusion. The three screens present different angles of the same image, yet the shapes remain indistinct owing to their blurriness. This fragmented and reassembled visual effect unsettles the viewer’s grasp of certainty and challenges the boundaries of reality. This study also reflects the ambiguity of human nature. The metaphorical implications of the female body evoke involuntary curiosity and speculation among the viewers. This elusive visual presentation mirrors the complex aspects of human nature that are difficult to understand. By creating a blurred space between reality and fiction, this work stimulates the contemplation of various aspects such as the body, space, and cognition. This invites us into an indefinable aesthetic experience, prompting the exploration of multiple facets of the nature of things.
The artist’s earlier work, i c u, conveys the relationship between concealment and gaze more explicitly to the audience. This study presents a symmetrical image of an individual. When she closes her eyes, her mirrored counterpart opens her eyes to gaze at her. When she opens her eyes, the mirrored image closes hers. Superficially, this work features only two entities: mirror images of two female figures. However, a third entity exists: the viewer who observes the artwork. As viewers engage with the piece, they subconsciously mimic the opening and closing eye movements of the figure. This interactivity transforms the viewer into part of the artwork. This clever design creates an effect of “mutual gaze,” where the viewer and the artwork engage in a reciprocal act of observing each other.
This work explores the relationship between the body and space, and between reality and illusion. The three screens present different angles of the same image, yet the shapes remain indistinct owing to their blurriness. This fragmented and reassembled visual effect unsettles the viewer’s grasp of certainty and challenges the boundaries of reality. This study also reflects the ambiguity of human nature. The metaphorical implications of the female body evoke involuntary curiosity and speculation among the viewers. This elusive visual presentation mirrors the complex aspects of human nature that are difficult to understand. By creating a blurred space between reality and fiction, this work stimulates the contemplation of various aspects such as the body, space, and cognition. This invites us into an indefinable aesthetic experience, prompting the exploration of multiple facets of the nature of things.
The artist’s earlier work, i c u, conveys the relationship between concealment and gaze more explicitly to the audience. This study presents a symmetrical image of an individual. When she closes her eyes, her mirrored counterpart opens her eyes to gaze at her. When she opens her eyes, the mirrored image closes hers. Superficially, this work features only two entities: mirror images of two female figures. However, a third entity exists: the viewer who observes the artwork. As viewers engage with the piece, they subconsciously mimic the opening and closing eye movements of the figure. This interactivity transforms the viewer into part of the artwork. This clever design creates an effect of “mutual gaze,” where the viewer and the artwork engage in a reciprocal act of observing each other.
Fig. 4. i c u, single channel video, 2002
From a conceptual perspective, this work explores the relationship between self and others, and between subject and object. When two faces gaze at each other, they appear to be mirror images. Viewer involvement extends this mirroring effect to the viewer, prompting reflections on cognition and self-awareness. Additionally, the act of opening and closing the eyes symbolizes the dialectical relationship between presence and absence, consciousness, and unconsciousness. The interplay between visual elements and the psychological core encourages viewers to contemplate the subtle connections between the inner and outer worlds. Overall, through its intricate interactive design, this study constructed a philosophically rich visual experience that guides viewers to deeply consider their self-perception and state of existence.
C. Object and The Gaze
In this series of works, everyday objects are abstracted and imbued with a new meaning. These meanings must be discerned through the act of gazing at them. One of these pieces presents an image of a walnut floating in a void. As explained by the artist, the walnut is the seed left after the removal of its outer flesh. Having endured various climatic conditions, the journey of survival mirrored that of nature. The two hard shells, tightly connected and marked with intricate grooves, resemble a skull with a brain while also exuding a sculptural beauty akin to a miniature representation of the Earth’s surface. As the walnut floats in the void, it becomes like a self-rotating star, and its posture seemingly reflects the fundamental principles of life and the universe: the sublimation of matter and the projection of emotions.[11] This poetic expression is the imaginative emotion involved in the poet’s creative activities. Wilhelm Teilo concludes, that the greater the ability to vividly replicate sensory impressions through ideas, the greater the imagination, as it is the capacity to reflect sensory phenomena in the mind. The greater one’s ability to voluntarily evoke, connect, or associate these internal images to ideally represent objects that are not in sight, the greater one’s fantasies. Imagination involves patient observation, whereas fantasy involves the voluntary activity of altering mental scenes.”[12] Through this walnut imagery, the artist vividly presents the eternal themes of life, nature, and the universe, sketching a philosophical image of tension and energy. This invites us to reflect on the true essence of life.
Fig. 5. Walnut，Lenticular, 50×62cm, 2018
The “Appearance and Essence” series uses lenses to provide viewers with an intuitive experience of both the surface and the inner aspects of objects. This series exemplifies the artist’s creations based on different intuitive objects, initially breaking perceptual prototypes through instinctive, automatic associations, and then engaging in non-automatic, indirect associations. The foundation of these works lies in the artist’s use of symbolic forms in artistic texts to express interrelated thoughts, emotions, observations, and sensibilities. “According to Merleau-Ponty’s concept of perception, one can see an object because it is part of a system or world composed of many objects, each surrounded by others related to it.”[13] What is gaze? It is best to directly quote Lacan’s answer: “In the scopic relation, the object on which depends the phantasy from which the subject is suspended in an essential vacillation is the gaze.”[14] In other words, the gaze becomes an object within a visual relationship. On the one hand, the objective world we observe is presented through objects; on the other hand, we transplant these objects into our minds, making them part of our self-awareness and understanding of the external world. In other words, we comprehend objects based on self-awareness, while shaping our self-perception through our understanding of these objects. Lacan’s theory elucidates a reciprocal process: our gaze at objects is active, constructed according to our identity and self-recognition; simultaneously, we reassess our self-identity based on our understanding of these objects.
Fig. 6. Paprika, 50x 50 cm, Lenticular, 2018 / Grenade_Grain, Lenticular, 55x55cm, 2015
The interaction between the subject and object within visual relationships profoundly influences our understanding of the self and the world. The “gaze” is not merely a visual act; it represents an ongoing process of collision and integration between the subjective and objective, the internal and external realms. Through this process, we continuously recognize and reconstruct ourselves, and achieve a deeper comprehension of existence.
Through the analysis of “gaze” theory in the previous chapter, we can see that although Sartre, Lacan, and Foucault take different paths, they all highlight the complexity and multi-layered nature of the concept of “gaze.” This study attempts to comprehensively understand the deep implications of “gaze” in aspects such as humanity, desire, and power by exploring these different theoretical perspectives. Each theoretical lens provides new dimensions of thought, enriching the content of the concept of “gaze.”
It is based on this continually deepening understanding that this study can discern the unique artistic expressiveness of “gaze” in unzi Kim’s works. Through poetic expressions such as perspectives of faces, concealment, and objects, and by employing innovative techniques such as projection, inversion, and interweaving, Kim’s works invite viewers into an exploratory visual experience. The advantage of poetic expression lies in its ability to diminish overt conscious output, reduce didacticism, and grant viewers greater autonomy to explore the artist’s creative intentions, thus facilitating the process of self-discovery. Gaze provide a fundamental concept for understanding the meaning of art. Poetic expressions have certain limitations. This inherent ambiguity inevitably leads to interpretive deviations and diverse experiences. Yet this is also a unique charm of art: it inspires each viewer to interpret the work based on their own experiences and perceptions, reaching a broader and deeper personal space rather than a singular understanding. In this way, art gains vitality and liberating power, becoming a unique medium for self-awareness and existential reflection.
Through the analysis of “gaze” theory in the previous chapter, we can see that although Sartre, Lacan, and Foucault take different paths, they all highlight the complexity and multi-layered nature of the concept of “gaze.” This study attempts to comprehensively understand the deep implications of “gaze” in aspects such as humanity, desire, and power by exploring these different theoretical perspectives. Each theoretical lens provides new dimensions of thought, enriching the content of the concept of “gaze.”
It is based on this continually deepening understanding that this study can discern the unique artistic expressiveness of “gaze” in unzi Kim’s works. Through poetic expressions such as perspectives of faces, concealment, and objects, and by employing innovative techniques such as projection, inversion, and interweaving, Kim’s works invite viewers into an exploratory visual experience. The advantage of poetic expression lies in its ability to diminish overt conscious output, reduce didacticism, and grant viewers greater autonomy to explore the artist’s creative intentions, thus facilitating the process of self-discovery. Gaze provide a fundamental concept for understanding the meaning of art. Poetic expressions have certain limitations. This inherent ambiguity inevitably leads to interpretive deviations and diverse experiences. Yet this is also a unique charm of art: it inspires each viewer to interpret the work based on their own experiences and perceptions, reaching a broader and deeper personal space rather than a singular understanding. In this way, art gains vitality and liberating power, becoming a unique medium for self-awareness and existential reflection.
4. Conclusion
This article delves into the theoretical perspectives on the “gaze” as presented by Sartre, Lacan, and Foucault, and uses the media art works of unzi Kim as examples to reveal the multiple dimensions and poetic expressions of the “gaze” in artistic practice. Through theoretical analysis, we discover the rich connotations of the concept of the “gaze.” Sartre views the “gaze” as a form of acknowledgment of our subjectivity by others, making us aware of our own existence and that of others; Lacan incorporates the “gaze” into the realm of psychoanalysis, emphasizing its symbolic and psychological role in individual self-construction and desire; Foucault, from the perspective of power, reveals the function of the “gaze” as a means of discipline and control in modern society. These theoretical viewpoints enlighten our understanding of the complexity of the “gaze” in art. unzi Kim’s works present a unique expression of the “gaze” in media art. Through techniques such as projection, inversion, and interweaving of facets such as faces, concealment, and objects, he creates unique visual experiences that provoke deep reflection on viewers ‘self-awareness and states of existence. These works not only exhibit the theoretical depth of the “gaze” but also enrich the poetic expression in media art. From this unique perspective, we can gain a deeper understanding of the artist’s creative intentions and reexamine our ways of seeing them and their underlying meanings in daily life.
In conclusion, the “gaze” in art is not merely a visual play but a profound exploration of human existence. This reflects our struggle and confusion with the complex relationships between the self and others, reality and illusion. By understanding this concept in depth, we may better perceive the intrinsic motivations behind artistic creation and the unique impact of art on the human spirit. This study not only helps us comprehend the unique position of the “gaze” in contemporary media art but also provides new perspectives for further exploring the intersection of artistic practice and insights into human nature.
References
[1] M. Foucault, Discipline and Punish, trans. Alan Sheridan, Vintage Books, Random House, 1991, p.171.
[2] J-P Sartre, Being and Nothingness: An Essay on Phenomenological Ontology, trans. Hazel E. Open Road Integrated Media, Barnes, 2011, p.220, p.224, p. 226, p.231.
[3] J. Lacan, The Four Fundamental Concepts of Psychoanalysis, 1964, trans. Alan Sheridan, London: Penguin, 1979, pp.71-76.
[4] M. Foucault, Discipline and Punish, trans. Alan Sheridan, Vintage Books, Random House, 1991, pp.195-228.
[5] M. Heidegger, Wegmarken, trans. Sun Zhouxing, The Commercial Press, 2014, p.17.
[6] J. Lacan, The Four Fundamental Concepts of Psychoanalysis, 1964, trans. Alan Sheridan, London: Penguin, 1979, p.106.
[7] Artist unzi Kim’s website, https://unzi.net/visage
[8] J. Lacan, The Four Fundamental Concepts of Psychoanalysis, 1964, trans. Alan Sheridan, London: Penguin , 1979, p.107.
[9] F. Nietzsche, Beyond Good and Evil, trans. Helen Zimmern, NY: Tribeca Books, 2011, p.91.
[10] S. Zhouxing, Selected Works of Heidegger: Volume 2. Shanghai: SDX Joint Publishing Company, 1996,
p. 48.
[11] Artist unzi Kim’s website, https://unzi.net/walnut
[2] J-P Sartre, Being and Nothingness: An Essay on Phenomenological Ontology, trans. Hazel E. Open Road Integrated Media, Barnes, 2011, p.220, p.224, p. 226, p.231.
[3] J. Lacan, The Four Fundamental Concepts of Psychoanalysis, 1964, trans. Alan Sheridan, London: Penguin, 1979, pp.71-76.
[4] M. Foucault, Discipline and Punish, trans. Alan Sheridan, Vintage Books, Random House, 1991, pp.195-228.
[5] M. Heidegger, Wegmarken, trans. Sun Zhouxing, The Commercial Press, 2014, p.17.
[6] J. Lacan, The Four Fundamental Concepts of Psychoanalysis, 1964, trans. Alan Sheridan, London: Penguin, 1979, p.106.
[7] Artist unzi Kim’s website, https://unzi.net/visage
[8] J. Lacan, The Four Fundamental Concepts of Psychoanalysis, 1964, trans. Alan Sheridan, London: Penguin , 1979, p.107.
[9] F. Nietzsche, Beyond Good and Evil, trans. Helen Zimmern, NY: Tribeca Books, 2011, p.91.
[10] S. Zhouxing, Selected Works of Heidegger: Volume 2. Shanghai: SDX Joint Publishing Company, 1996,
p. 48.
[11] Artist unzi Kim’s website, https://unzi.net/walnut
[12] W. Wordsworth, “Preface to the Lyrical Ballads (1815 Edition)” in Selected Western Literary Theories: Volume 2, ed. Wu Libo, Shanghai Translation Publishing House, 1979, p.20.
[13] L. Meilin and C. Daixi,, Continued Collection on Aesthetic and Literary Methodologies, Beijing: Culture and Art Publishing House, 1987, p.259.
[14] J. Lacan, The Four Fundamental Concepts of Psychoanalysis, 1964, trans. Alan Sheridan, London: Penguin, 1979, p.83.
[13] L. Meilin and C. Daixi,, Continued Collection on Aesthetic and Literary Methodologies, Beijing: Culture and Art Publishing House, 1987, p.259.
[14] J. Lacan, The Four Fundamental Concepts of Psychoanalysis, 1964, trans. Alan Sheridan, London: Penguin, 1979, p.83.