SK, 2006
video loop, 1'40", stills
SK is a hybrid video and performance work that weaves together a multilayered visual narrative, where cinematic techniques are used not merely for aesthetic effect but to construct a densely referential and subjective space. The piece operates as a personal archive filtered through the language of cinema—drawing on visual tropes, narrative structures, and editing conventions to present a reflection on film history as seen through an individual lens. At its core, SK explores the tension between visibility and vulnerability. Long before the advent of social media and the ubiquity of self-documentation, the work anticipates themes of surveillance and self-exhibition. It investigates the compulsion to be seen and the anxiety of being watched, suggesting that the cinematic gaze—once reserved for actors and audiences—has shifted into everyday life, blurring the boundary between performer and observer. By compositing layers of imagery, the work creates a fragmented self-portrait that is simultaneously intimate and estranged. The viewer is drawn into a mediated interiority—one that reveals how personal identity is shaped, distorted, and exposed through cultural references and visual technologies. The piece critically examines how cinema has conditioned us to perceive ourselves and others, prefiguring the way digital culture would later amplify this dynamic through constant recording, sharing, and surveillance.
Through its formal construction and performative elements, SK becomes a meditation on the act of looking and being looked at—on screen and in life. It offers a critique of the performative self, before the performative demands of social media became a cultural norm. In doing so, the work highlights how media technologies not only shape representation but also the very structure of personal experience and memory.