Kara Hondong

In using and developing new material processes like bioplastics I follow questions of painting and strive to find new exciting solutions. 

I am working with concepts of embodiment and the relationship between the cinema-screen and the canvas. The body as a part, not only of the perceptual apparatus, but also of perception per se, must play a role for both painting and film. Even if one seems to be sucked into the work of art, all references to one's own body also belong to the perception of it. It makes a difference whether the canvas I am looking at is large or small in relation to my body. However, works of art are inevitably cultural-symbolic realities rather than merely natural and perceived ones. Therefore, on the one hand, lived, embodied perception and, on the other, all meaning that transcends it, are inextricably linked.

To achieve the dismantling focus that makes the depicted object seem simultaneously otherworldly and vaguely familiar there has to be a certain relation of scale between the spectator and the work. Connected to the cinema the translucent layers I work through chart a non-linear movement through time and space.

Dealing with abstraction from the human form I am exploring the "normal" body that is reflected in designed objects –meant to fit the human body– and warping these objects on the two-dimensional surface of the canvas, warping the perception of the body into something beautifully alien.

In my manual translation of virtual imagery I point out the gap between pure potentiality and crooked actuality. The resulting form is alien, terrestrial and digital at once and my process shows that we have the means to transform and jump dimensions, without having to flee into the Internet or outer space.

I am looking for a space for all kinds of bodies; searching in fiction.