Influenced by filmmaking, Steven Chun’s works study the concept of time and motion. Traditionally, a film is a linear narration and the action occurs in front of a scene or location. In his work, Chun breaks away from film parameters and places the animation behind a still shot where spoken words become text metaphors. Over a period of days or weeks, he photographs and documents each stoke, eventually creating a stop animation which can consist of more than 500 frames over several image plates. He presents the idea that life’s animation comes from within and at times, masked by an outer persona. In addition, one cannot return to a previous moment in life but must adapt to ever-changing circumstances.
In the process, Steven Chun bridges traditional art techniques with new technology. From the traditional use of pastels and acrylics on paper (plates), his abstract expressionistic shapes are reassembled into digital images. Once inputed into a digital camera, the traditional medium is left behind and the art takes on new life with new interpretation. The process reminds us about the loss of time and inevitable change. The first frame represents a moment in which the physical subject will no longer be the same and the last frame represents the end of its existence into an object-less, digital form.
Moving between the canvas or paper and the mounted camera, a dynamic relationship is created. When looking into the eyepiece and LCD display, the art compositions and colors take on new characteristics . Perhaps the digital representation or simply the physical movement back and forth influence the next stroke, which in turns affects the overall animation. It becomes less important about the the individual stroke, rather than how each stroke will relate to the next in succession. Once again, time and motion become essential factors.