Radiator Theatre by Ina Jang
Interview Daniel Teo
Ina Jang is an artist and photographer based in Brooklyn, New York. She details the concept and creation of her latest work, Radiator Theatre.
How do you craft your creativity identity?
I always stay curious and open-minded. I consistently question myself ‘what is next?’.
Where do you get inspiration from?
Reading and traveling. Learning and experiencing something new always helps me moving forward.
Tell us about your creative process. How long did it take you to complete Radiator Theatre?
The conception of ‘Radiator Theatre’ was another series called ‘Untitled (Titled)’ made in 2016. It organically evolved to be the work you see now. ‘Radiator Theatre’ is still ongoing. I will have a brief break period before making more of them. As I am falling in love with the process more, I will continue exploring ideas in it.
Describe the concept behind Radiator Theatre. What are you trying to convey with title and the artwork itself?
‘Radiator Theatre’ is about colors and shapes. It is about the relationship between spoken languages and visual languages. The title of body of work suggests not only its look - which reminds me theatric stage set ups - but also the process of image making. I’ve created the set on top of my radiator initially, as it is the first place to get sunlight in my apartment. The set started moving in the apartment as the sun travels throughout the day. This made me perform a quite physical role as a photographer - it is not the best idea to photograph little sets under direct sun near a heat source in the winter time. I wanted to explore many definitions and possibilities in theatre in our lives through this visual language.
What is the role of color in your paintings and is there a reason why you’re drawn to a specific color palette?
I am definitely drawn to color palettes that cannot be described in one word. I like obscure colors for its capacity to express unfamiliar feelings.
How do you utilize shape and form in your works?
I’ve always been fascinated by organic forms. Especially in ‘Radiator Theatre’, I tried to let myself loose a little bit and focused on what comes out of my hand with scissors. I would have a very vague idea of what the entire set would look like, but also at the same time, more successful images were made when I had less control over the shapes. Often, I was left with pile of cutout shapes and started building the set until it feels resolved - much like writing a poem.
What can we anticipate from you in the future?
There is a lot of ideas waiting in queue. Although I am not quite ready to let my theatre pieces go yet, I am also keen to make other works that feel more urgent as a reaction to the world. I want to investigate further into power and politics of language, which started from my observation of Korean culture. Also, I would love to make more portraits in the new year. ‘Radiator Theatre’ demands a very isolated and quiet process, so I think that it’s about time to be surrounded by more people