Ronin Cho

biography

Ronin Cho was born in Busan, South Korea, and is now based in London, UK.

La Scatola is pleased to be holding the first exhibition of Ronin’s work.

Education

2011 MFA Computational Studio Arts – Goldsmiths College, UOL
2009 BA Graphic and Interaction Design – Central Saint Martins, UAL

Awards

2011 National Portrait Gallery, Road to 2012 Olympics commission, UK

statement

I am driven by a keen interest in how one’s ideas and experiences can be communicated to others on screen and off. I have enhanced my skills and concepts to explore the relationship between kinetic sculptures and media art by
investigating the benefits of using technology and traditional media, including craft.

The use of technology in art is one of the considerations within my practice. As society evolves by increasingly adopting new media into everyday life, art should increasingly reflect this progression to remain relevant. The practical application of technology can support the creation of art or be a central component to the formation of it. My current work is strongly engaged with traditional craftsmanship but it contains computer-driven kinetic parts. In order to make these mechanical parts work, a certain level of precision is required. In the early development stages, I use computer programs to visualise and simulate ideas. Later, in the physical fabrication process, the construction is guided from the blueprint developed previously. Although the blueprint is a sterile computer-aided material, the handcrafted fabrication methods used in creating the physical work; includes cutting, carving and sanding which facilitates the artist’s signature. It’s an incalculable process which implements certain estimations built on a personal interpretation, experiences and an understanding of the materials. Although the physical response of the materials in my hands is simple, this activity facilitates the complex relationship between the work and myself.

‘WEIGHT OF UNSEEN’ is an interactive kinetic sculpture. It’s built with a large seven- segment display unit made out of steel, seven motors, a manual chain hoist, a length of chain and a proximity sensor that measures its vertical position from the floor. Audiences can interact with the sculpture by pulling the chain from the hoist, then the display changes depending on its vertical position. It only displays 0 and 1 in a combination, which is a binary code 00011010, meaning end-of-file.

Weight of Unseen is a result of Ronin’s investigation of contemporary lifestyle. The dependency on unseen systems, which lie in all forms of media and media control, is becoming predominant. In this context, the artist poses questions about where the sincerity is, as opposed to indiscriminate behav- iour from the addiction of communication in the ever most accessible world.

Ronin Cho’s interest lies in between two different spaces: the material/physical world and the immaterial/electrical world. The value of the immaterial is rapidly increasing as technology, Internet and small gadgets are popularised. Accordingly, the dependency on unseen systems and their influence is escalating followed by an alteration of people’s belief and behaviour. The artist himself is a model of a person who has such a dependency on unseen system. However, since he found himself struggling finding where the sincerity is, he despises this unseen system for its illusion and side effects such as its speed of change, which disrupts digestion of thoughts. Then he started to crave certainty in the material/physical world as well as balance between two worlds in this inseparable disparity.

The fantasy of pressing a button is already realised and part of our life; we don’t need to understand how the system works. However, lack of awareness in the behaviour leaves unwanted or unintended marks. And because of the behaviour alteration, the level of consciousness reaches near to the ground. From these changes, Ronin explores the origins of this phenomenon by finding unnoticed parts of everyday electronic appliances. In his work, the various characters of those objects and their non-physical status are transformed into something sturdy, physical and tangible. And the way the audience interacts with the work requires much more physical power than is usual. By elevating their physical presence to a sense- sharpening tool, he tries to provoke a question to the audience: where is our belief in this hurried shifting time?

Weight of Unseen from Ronin Cho on Vimeo.

Mindless Consumption II from Ronin Cho on Vimeo.

MAY 2011,100 X 100 X 40 CM (INCLUDING PLINTH), VINYL TUBE,TAP WATER, PUMP
Mindless Consumption II (2011) is a closed circuit pump system which circulating water in the tube endlessly. The water gets dirtier and darker over time as the pump corrodes. This is a new installation made for the show ‘Behind the Object’.

‘WEIGHT OF UNSEEN’, 2011
23 X 35 X 184 CM (CHAIN LENGTH CAN BE VARIED) STEEL SHEET, STEEL ANGLE, SERVO MOTORS, PROXIMITY SENSOR, MICRO-PROCESSOR, CHAIN, MANUAL HOIST. This is a new installation made for the show ‘Behind the Object’.

We know this but we just don’t know how to show it from Ronin Cho on Vimeo.

‘WE KNOW THIS BUT WE JUST DON’T KNOW HOW TO SHOW IT’, 2010
67.5 X 41 X 196 cm, Pinewood, micro-processor, servomotor, motion sensor, door.

‘We know this but we just don’t know how to do it’, (2010) is a kinetic sculpture that mimics door knocking. It’s built with hand carved wooden hand, a door, a microprocessor and a distance sensor. As the audience comes close to the sculpture, the hand starts knocking the door multiple times.

Works can be viewed by appointment. For more information about the artist, please email us on:
[email protected]