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Postwar time as origin
Born fourteen years after the Korean War, Tahn translates inherited survival, reconstruction, and transitional identity into spatial systems of memory and return.
Tahn builds living chronotopes from postwar memory, structural perception beyond color, closed-dataset AI, biosignals, environmental data, and Korean symbolic systems. In his installations, viewers do not simply watch time. They leave traces inside it.
The work does not begin from technology. It begins from a body trained to read the world differently, a country rebuilt from ruin, and a lifelong effort to turn invisible pressure into structure.
Born fourteen years after the Korean War, Tahn translates inherited survival, reconstruction, and transitional identity into spatial systems of memory and return.
Red-green color deficiency is not biographical decoration. It is a method: crisis appears through fracture, density, pressure, interval, and surface behavior.
AI imagery is built from Tahn's own 101 original works and custom LoRA models, converting authorship into a controlled visual ecology rather than a generic prompt aesthetic.
Viewers do not trigger spectacle. Their presence, breath, attention, and hesitation accumulate. Each visitor inherits the traces left by others.
Museum collections, public media commissions, international selections, and textbook recognition give the practice both conceptual depth and public credibility.
I was born into a country that had just emerged from the devastation of war. My parents' generation fought for survival and reconstruction; my generation inherited a different war, one of identity, adaptation, and attention in an accelerated technological era.
Because of my red-green color deficiency, I do not build images around chromatic certainty. I read the world through structure, density, texture, fracture, rhythm, and spatial pressure. This perceptual condition became the conceptual engine of my media installations.
My work brings Korean symbolic systems such as Ilwolobongdo, moon jars, folk talismans, and ritual architectures into contact with AI vision models, EEG, breath, environmental signals, and generative code. I do not use technology to decorate tradition. I use it to test how tradition survives under pressure.
In my installations, time is not a neutral background. It is a material. Memory is not an archive. It is a living organism. The audience is not a visitor outside the work. They become a force inside its field.
Only works that clarify Tahn's core system are placed here. The full video archive remains secondary.
War is treated not as illustration but as a migrating condition: from rubble to labor, from identity to data, from national recovery to private perception.
Color is not the primary grammar. Form, density, grain, interval, fracture, luminance, and pressure become the visual language of the work.
Custom AI systems are trained from Tahn's original works, making the model an extension of the artist's visual DNA rather than an anonymous image machine.
EEG, breath, movement, dwell time, and environmental data do not decorate the screen. They reorganize memory, rhythm, and spatial behavior.
Selected artist, International Symposium on Electronic Art, Dubai, United Arab Emirates.
Finalist, Top 3. International jury; ceremony presented by the Director of Guggenheim Abu Dhabi.
Watch event videoVisual Arts Commission, Ministry of Culture, JAX District, Riyadh, Saudi Arabia.
Official media facade screening within Riyadh Art public art context, Saudi Arabia.
Data and AI, Imaginary Landscapes, Fictional Narratives, three-person exhibition.
Platform exhibition, collaborative project with Pozamong.
PDF materials are provided for curators, juries, residency panels, commissioners, and press review.