An Artist's Persona as a Reality

Paul Zürker utilizes a variety of media such as drawing, painting, media installation work
including media art itself.

He does treat his works not just aesthetic objects but perceptual beings which make viewers be able to intervene into his works as another being of subject with their body, imagination, and spiritual activities. To make those processes go on, his inventor- like seriousness must present aspectual visions to bridge somewhat ambiguous territory existing in between general and historical elements and visual intensity that he has kept as his artistic originality. To achieve such formal points of linkages efficiently, he necessarily reveal his artistic personal hidden not only in his past memories, but also in the functioning process itself of his memories. Now the situations created by those conduits freely play in a sense of interactivity and the cause and effect in his works of art is delivering a new topology of 'intersubjectivity'. 

To make his viewers discover artistic sensibility and to find the level of changing perception, he lets viewers induce themselves to encounter the change of sensory perceptions on the dimension of an unexpected spatial devices such as the light functioning as primary 'schema'. To him, all these things are possibly achievable by the product of intelligence such as Perspective. At this point, I have to ask "does human reality can philosophically become a cause of 'subject' because I have faced the conflict among mediatic reality, sensory reality, and human reality. From those different realities what is more close to truth and what reality I can rely on?"

To solve this problem, Paul Zürker particularly in his work turns viewers' attention to pre-existing situations, i.e., the eventful world of representations. This method of mixing real light presented as moving images with a represented world images allows him to construct his aesthetically expanded art that offers a new momentum. This momentum his artworks achieve are opened to various relationships between subject and object. From this point, Paul Zürker's art is converted from the presence of observation into the changeable world of artistic reflection. And each formal element in his works triggers specific reflections reconfigured and reasoned by his experiential senses of reality.

In the sense of new media, it is still important for him to interpret the symbolic process of creating meanings and contexts of the creation itself. This process of pondering and practice on artworks is revealed as an important artistic consciousness. And the artistic conscious starts communication with the viewer about understanding, accepting, and responding to the world of event in a way of sensory reality. And all these are related to the problems of not perceptive knowledge, but perceptive senses. Consequently, Paul Zürker wants to contain symbolic factors into his works, mix them with his own conscious, and attract those all to the realm of borders between subjects and objects. So he can produces this sort of artistic reality with which everybody wants to get along as a subject and the viewer. 

Yongdo Jeong, Art Critic