The present series of the database paintings (2002), the Twin Funeral series involves the concept divided into two substances. The method of the Twin Funeral series is built upon the flesh of the digital image, as expressed with enlarged pixels on the screen transferred onto the mesh mounted on the canvas, while the concept of “Digital expression” relates to the self-progenitive function of database. This is what he calls the “third degree of creation,” or, also, the death of representation of perception. The visual source for the paintings, low-resolution images of funeral scenes, downloaded from the web and then manipulated for the exaggeration of pixel sizes, also imposes a strong message that the digital visual world composed of pixels is a violent renovation or even the death of the representation of reality, and of the conventional perception of visual.
Among the paintings Twin Funeral (2002) particularly deals with the issue of reality and net-reality, here he is asking himself a set of questions : whether it is the death or rebirth of a world, whether it is our valid subjectivity or the reflection of our identity. One of the most effective elements in digital revolution comes through pixels on the screen, vapor and uncomfortable to the eyes trained only for the print culture. Pixel, the basic unit of digital image, slowly kills our conventional imagination in the age of the computer culture. Slowly, we are getting used to images of pixels and accept this vaporous beauty. Now we share the images of conventional beauty taken/borrowed from reality, and the image of pixelated beauty taken/borrowed from net-reality. Every day we are unconsciously becoming the twin.
Realization of database, the basic resource of digital creation, mode me pack up post modern left overs of the 20th century. -Cody Choi, 1997
The basic unit of digital image is the pixel, which killed my conventional imagination.-Cody Choi, 2002
