His Angel-Soldier series show that the artificial flowers that fill the artificial spaces that appear in such media as video, photography and installation, stir up the digital simulation composed purely through simulacra. For instance, one is surprised to find a soldier perfectly camouflaged in flowers slowly marching with a gun in such an artificial space of Lee’s video work. In this setting, the simulation is portrayed as an extreme war-zone upon which the subject depends its existence. The artificial flowers here are the simulacra that exercise a power of seduction, and the solider exists solely as a part of the simulation setting, not as a separately independent individual. In the same sense, this work in part brings up human ontological issues, such as the exchange between the exterior (electronic environment) and interior (subject), the reconstruction of the "liquid ego" (Arthur Kroker) in the cyberspace, and the dissolution of the subject. The work also displays the fidgety overview of today’s digital war and cyber commerce that create war between the boundaries of the world of computer simulation and physical reality based on the human body.
Another work in the Angel-Soldier series is an objet installation that utilizes the soldier outfit, and this is a witty work that utters about the concept of the artist and creation in the digital media era. This installation utilizes the flowered solider outfit and other real objects that appeared in the video installation. On each of the soldier outfits, logs such as Windows, Quicktime, Word and Explorer appear as medals, and important famous artists’ names such Beuys, Picasso, Duchamp, Nam-Jun Paik and Da Vinci are written on the name tags. This work suggests a new transfiguration of the simulation era into an artistic creation, through the intersecting of 4 elements: artificial flower pattern, soldier apparel, important symbols of the digital culture, and symbols of the artistic creation. The work is a suggestion that Art today variably and strategically transforms into a product through the process of reproducing, editing, and transforming in the imaginative space. The very life of Art becomes ambiguous, as Art is no longer the ‘original creation’, but a “Post-creation” that relies its expression and existence on the appropriation and re-arrangement through the simulation process.
-Wonbang Kim, 2008
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