KOREA FOUNDATION

1. Please briefly introduce yourself.

I am Jung Choul-young and I produce new media artworks. I have worked at game production companies like CCR Inc. and Nexon, producing cinematic videos for over 100 games of various genres. At the moment, I direct the creation of cultural heritage-related media works both locally and abroad. During the last 20 years, I made considerable efforts to build my artistic and technological competence. When directing projects, I draw from this experience and my understanding of practical technology.

2. Please tell us about your work. How did you come up with the idea of producing artworks based on traditional culture?

I have worked with a variety of media. I produced cinematic videos for high-quality games such as Fortress, KartRider, and Mabinogi. Wanting to try my hand at something else, I then ventured into the field of new media utilizing VR (Virtual Reality), AR (Augmented Reality), MORPG (Multiplayer Online Role-Playing Game), virtual humans, the metaverse, and media art. These days, in order to realize such diverse projects, I divide my time between planning, drawing artistic concepts, and directing their production. While working in this way, I happened to receive an offer to direct the production of some folktale-related media. Looking for inspiration, I visited multiple museums and exhibition halls all over the country and came across numerous traditional tales and paintings. Through these encounters with traditional art and culture, I realized how profound these time-honored artworks are and how beautifully crafted the spaces are. While contemplating ways of adding new faces to the magnificent and dignified ancestral works, I decided to produce traditional media works.

3. In September last year, you directed Waves of Baekje, a laser show beamed onto Gongsan Fortress in Gongju, South Chungcheong Province. What was the concept behind this project, named after the Baekje Kingdom (18 BCE–660 CE)?

Gongsan Fortress in Gongju is a precious cultural asset that belongs to the Baekje Historic Areas listed as a UNESCO World Heritage Site. By staging a media art show there, I tried to shed light on the quintessential, universal value of world heritages and to emphasize the openness and diversity of the people of Baekje. I wanted to show how today’s wave of Korean culture has its roots among the people of this ancient kingdom. The show’s closing was pushed back by a month allowing many citizens, who hadn’t yet been able to, the chance to visit and enjoy this media work.

4. Please tell us about your art shows at the Cheongju National Museum and the Uirimji Reservoir in Jecheon, North Chungcheong Province.

The show at the Cheongju National Museum is a 360-degree VR video which uses a mirror from the museum’s collection. On the mirror, a word is engraved that consists of four characters — hwangbichangcheon — and means clear, brilliant, and infinite sky. By utilizing cutting-edge digital technology that recognizes hand movements, the video enables viewers to have interesting experiences such as grasping water drops or wielding a sword in virtual reality. It was not easy to correctly recreate the Goryeo Kingdom (918–1392) costumes worn by the characters, but thanks to the assistance of the members of the advisory committee, it could be properly done. The media art show at the Uirimji Reservoir in Jecheon was carried out by shooting a project in the forest. Prioritizing visibility was crucial, due to the project’s outdoor nature. Among other works, I fondly remember producing — working through many sleepless nights — the immersive reinterpretation of Joseon Dynasty painter Jo Huiryong’s Mungmaedo, an ink painting of plum flowers.

5. After producing VR and AR works, you are currently preparing for an exhibition of immersive pieces richer in Korean elements.

I am working on metaverse pieces that embody native Korean sentiments. Needless to say, it is important to visit and experience cultural heritage sites or tourist spots in person, as seen by countless families, schools, and local administrations who all visit such areas for educational purposes. I am trying to invite those visitors to the digital world to provide experiences that they cannot have in reality, and to increase the fun factor through virtual experiences. A project targeting the millennials and Gen Z is in its preparation stages.

6. When producing media artworks with Korean elements, what do you consider most important?

I think a sensitive approach, cherishing the native Korean way of feeling is most important. Advanced technologies are being developed, but people still form the center of the world. It may be significant to produce a new creative work amid floods of content, but we should never forget that the culture and the way of feeling that we have naturally embraced since childhood is an emotional legacy from a long time ago. We need to continue to produce artwork, so that everyone can relish it, tracing the origin of the legacy and reinterpreting it in tune with the current times.

7. Do you have any plans to publicize traditional Korean media works?

There are plenty of cultural heritages that we are unaware of in this country. I plan to seek them out and reinterpret them as digital works, to the best of my ability. I want to create art that will be known by people beyond our national borders. My company, NtonicCreative, is working on the reinterpretation of historical figures utilizing AI and deepfakes. We plan to create media works within the metaverse, bringing historic figures into our living spaces and letting their ideas and dreams come true. We are working hard to release it this year, and any interest or support will be greatly appreciated.