Skip to main content
Experimental Communication

Ryeojin Min (Lea)

Ryeojin Min (Lea) is a graphic designer and visual communicator, based in London and Seoul. 

She communicates through various visual media: from still images to graphic documentary. Currently, she explores space-time at the border between reality and virtuality through multidisciplinary research, particularly modern physics and quantum mechanics, and her own graphic methodology.

Before her MA(RCA) in Experimental Communication, Ryeojin completed a BA in Entertainment Design at Kookmin University in 2018.

As a visual communicator, I record contemporary portraits of the places in which we live. This is a continuous practice of documenting things that exist in the moment. I meditate on urban space and record the everyday space that is constantly being broken and reconstructed.


From ‘Deconstruction - Reconstruction’ Model

The ‘Deconstruction - Reconstruction’ model finds a new alternative space through the act of deconstructing and reconstructing various elements from existing objects to spaces. In other words, the model explores new methodologies and speculates on another world of possibilities.

First, the concept of deconstruction, influenced by postmodernism and poststructuralism, questions structured human life and perception, and seeks to find a new meaning. Therefore, the concept of deconstruction is an attempt to understand our lives from various angles and to understand it anew by considering more possibilities. Jacques Derrida argued that spontaneous meaning is produced by the constant repetition of 'deconstruction'. Therefore, there is no fixed meaning in our lives and we have to constantly dismantle existing order and authority.

The ‘Deconstruction - Reconstruction’ model presents a restructuring step that reassembles the separated pieces. In other words, this model insists that we rearrange and reinterpret existing objects through active actions. An alternative story that is newly discovered through deconstruction becomes the starting point of reconstruction.

This process does not end just once. It repeats constantly and has to go through the process of deconstruction and reconstruction again. It does so because the image we perceive changes every day. Since the world we live in has a fluid network that is constantly changing, we need to develop the network steadily through a critical attitude. By doing so, we can provide a new understanding of the world to provide sustainability for space, and furthermore, to give rich ontological meaning to objects.

The shelf: the boundary between reality and virtual reality — Installation
The shelf: the boundary between reality and virtual reality — Installation, 4'57"
Particle objects

‘The Shelf’ is a new alternative space. Borrowing a quantum mechanical perspective, this project takes a different perspective on the space between reality and virtuality;, that is, the boundary in a different way. This installation describes the space at the boundary as a world of waves: a space of possibility. Specifically, this work speculates on the reconstructed space through the circulation of dismantled pieces. Therefore, this installation, which symbolises a part of the virtual space, not only asks questions about the relationship between particles and space and the meaning of the existence of virtual space, but also positively views the space of uncertainty.

‘The Shelf’ uses a ready-made shelf to place the series works, allowing the audience to experience a vertical movement of their gaze. The installation in the empty space allows the viewers to experience a part of the virtual planet visually, auditorily, and tactilely through various media. Therefore, ‘The shelf’ opens the positive possibilities as an indicator of the reconstructed virtual space.

Medium:

Multimedia

Size:

60x27x140 (cm)
Virtual Particles — Graphic Documentary, 5'05"
Virtual Particles — Ambience Sound
Virtual Particles — Still Images 01
Virtual Particles — Still Images 02

‘What kind of matrix does the new world created through the deconstruction and reconstruction of virtual particles have?’

The graphic documentary, Virtual Particles, is a visual essay that combines fact and fiction as a planetary science study. This graphic documentary records the random movement of particles existing in alternative spaces in the order of world-space-particles. This work depicts an ever-changing space through the creation and extinction of digital dots with irregular orbits. This project researches, reinterprets and archives virtual particles for the study of hypothetical planets.

Let's think again, by breaking up space and objects in the form of microscopic particles. The virtual particle field created by the movement of countless dust is a series of contingencies. The movement of virtual particles with random trajectories in the flow of relative time is a clue that assumes the existence of another space-time. The graphic documentary Virtual Particles positively depicts coincidental matrix caused by irregular particles.


Sound Design Jay Kim, Angelica Lee

Medium:

Digital
Everyday Particle(s)
Everyday Particle(s) — Typeface
Everyday Particle(s) — Part 1
Everyday Particle(s) — Part 1
Everyday Particle(s) — Part 2
Everyday Particle(s) — Part 2
Everyday Particle(s) — Part 3
Everyday Particle(s) — Part 3

The endless dance of the atoms has no end or purpose. Like everything else in nature, we are one of the many products of this infinite dance. So it's a product of an accidental combination. Nature is constantly experimenting with form and structure. 

Carlo Rovelli: 'Reality Is Not What It Seems'


'Everyday Particle(s)' is an exploration of everyday space. This project series is divided into three parts. And the identity applied throughout the project is inspired by the morphological features of irregular particles. These microscopic dust particles wander freely in everyday space, collide, push and pull. The diverse spaces created by these random linear motions of atoms constantly experiment with forms and structures. 

‘Everyday Particle(s)’ is the process of creating a new image epistemology. This hypothetical geological study depicts everyday space and the movement of particles that make it up in various ways. It records an ever-changing daily space with various visual grammars.

Based on this concept, the space in ‘Everyday Particle(s)’ has uncertain and unpredictable characteristics. Numerous perspectives coexist and various movements exist in our lives. There is no space that lasts forever, only a space of coincidence that is constantly broken and rebuilt by random movements. 

Medium:

Print

Size:

148 x 210 (mm)