Korean Artist Kim Euljiro Finds the Algorithm in the Orchid: A New Vision for Digital Art
SEOUL, SOUTH KOREA – A fascinating intersection of biology and technology is captivating the art world. Korean media artist Kim Euljiro is making waves with his innovative 3D installations that explore the unexpected connections between the growth patterns of plants and the logic of digital algorithms. This breaking news from the Korean art scene signals a potential shift in how we perceive both nature and the digital realm, and is already generating buzz for its unique approach to contemporary art.
From Indoor Plants to Immersive 3D Worlds
Euljiro’s journey began with a simple question: “What object is suitable for 3D?” The answer, surprisingly, was the plant. He noticed a striking resemblance between how plants grow – branching, adapting, responding to stimuli – and the underlying processes of 3D image creation. “I don’t know if the plant was first or 3D first,” Euljiro reflects, “At the same time, interest in the two areas has grown.” This realization sparked a series of works that aren’t simply representations of plants, but rather explorations of their inherent algorithmic structure.
His recent exhibition work, including pieces like ‘Similia Similicus Kurantur’ and ‘crawling pulse’, utilizes 3D modeling, animation, and augmented reality (AR) to create immersive experiences. These aren’t static displays; they’re dynamic, evolving environments that mimic the organic processes of plant life. The artist’s meticulous process involves extensive research into plant ecology, followed by a complex 3D workflow encompassing modeling, animation, rendering, and exporting.
Challenging Human-Centric Perspectives
Euljiro’s work isn’t just about replicating nature in a digital format. It’s about shifting perspective. He deliberately aims to create art from the viewpoint of the plant itself, or even the insects that interact with it. His piece focusing on orchids, for example, examines the plant’s unique survival strategy – evolving to mimic insects to attract pollinators. However, he also questions the human impact on this process, noting how selective breeding has altered orchids for aesthetic purposes, potentially at the plant’s expense. “If we dealt with indoor plants that were adjusted from the human perspective, we worked on the theme of ‘orchid’…From a human point of view, you might think that you choose orchids you want, but if you look at the orchid’s point of view?”
This questioning extends to the very nature of digital representation. Euljiro intentionally incorporates “noise” and pixelated textures into his work, rejecting the overly smooth, polished aesthetic often associated with 3D graphics. He sees this noise as a fundamental aspect of existence, present both in microscopic detail and the vastness of the universe. He strives for a “living feeling” in his work, achieved not through precise keyframing, but by applying flexible properties and external stimuli to his 3D models, mimicking the way plants respond to wind and other environmental factors.
The Future of Art: Blurring Boundaries
Euljiro’s approach is deeply rooted in a desire to avoid superficiality. He emphasizes the importance of thorough research, not to simply replicate plant forms, but to understand their underlying structural elements and ecological processes. He describes a process of “grinding” and “materializing” ideas, allowing probability to guide his modeling choices. This willingness to embrace the unexpected, to “eat my mind so that I don’t think it’s wrong even if an unintentional result comes out,” is crucial to his creative process.
Looking ahead, Euljiro plans to expand his focus beyond individual plants to encompass the entire environment, exploring the systems and phenomena that govern their existence. He envisions a future where the distinction between object and background becomes meaningless, creating a holistic, interconnected world within the limitless space of the 3D interface. This represents a significant evolution in his artistic vision, moving from the study of individual organisms to the exploration of the complex web of life that surrounds them. His work isn’t just about showing us a new way to see plants; it’s about prompting us to reconsider our place within the natural world and the increasingly digital landscape we inhabit.
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