Proposition 3: String Figure. 1 of 7 muti-channel videos. HD. colour. sound. Accompanied with text work and a collection of photography. Variable dimensions. 2022
Project: Proposition 3: String Figure
Residency period: April 25 to Jul 19, 2022
Foreword: I want to note that the collection of visual materials you are going to experience below are only segments of the entire collective work. Also, it still awaits Y’s string figure materials, who is my last participant in the project as of the time the materials are being uploaded here. All fully completed assemblage and collection will be available for your viewing on the website: www.ivettakang.com
Proposition 3: String Figure invited six friends I once met before the pandemic and have never met in person since the pandemic. They all live in different countries and in different time zones. From 7th May to 6th July 2022, I had about 12 conversations with them. All the conversations were carried out with loose topics, including their everyday lives during the pandemic, anxiety and agoraphobia or other mental/emotional struggles not only due to the pandemic but also personal issues and respective desires and dilemmas that might represent that of our generation.
After all the conversations, they received Welcome to Our Ephemeral String Figure Intersection Instruction.
One friend would finish archiving their four days spent with their string and string figures, and the materials would be passed to the next friend. Our individual string figures grew into collective string figures assembled through repetitions yet differences with relational interpretations of the friends.
For #4 in the instruction, they were asked to invent their own string figures by any means. Their inventions were creative respondence to intersectional keywords I had shared with them prior to their four days with string figures. The keywords swirled up from intersectional moments and sharing between the conversations I had with one friend and the next friend. Each friend received intersectional sentences that were similar yet varied.
Their inventions of string figures were gathered at me. I let my acknowledgement that I would eventually function as an interlocutor, editor and transcriber of them be embedded in the inventions as poetry. The method for the following work is inspired by Lisa Capps and Elinor Ochs’ linguistic analysis that transcribes their patient’s traumatic stories and storytelling with grammatical and semantic utterances. They offer a new means for agoraphobia studies and related treatments to unveil narratives with elicited feelings, fear, emotions, and negativities that keep troubling agoraphobia and anxiety patients as "therapeutic intervention." 1
Ivetta Sunyoung Kang is an interdisciplinary artist based in Tkaronto/Toronto on the land now called Canada. She obtained an MFA from Concordia University. Her work has been presented at Sound Scene in partnership with the Smithsonian Hirshhorn Museum and Sculpture Garden (2022), ArtScience Museum (2022), Dazibao (2022) and The Korean Cultural Center, Washington, DC (2021), among others. She has been awarded the RBC Newcomer Arts Award (2021). She has co-founded an artist collective, Quite Ourselves.