Interview with visual artist and DJ
Vakki

Please introduce yourself. What type of artistic work do you engage in?
Hello, I’m Vakki, a visual artist and DJ working with geometric structures and patterns.

Could you provide a more detailed explanation of the type of work you do?
I find that my work is more effectively conveyed through visual mediums such as images or video, rather than through abstract descriptions. To assist with this, I have included representative images from significant past exhibitions below. I hold the belief that the world consists of patterns characterized by endless repetition and variation. From this viewpoint, I perceive rhythm, cycles, energy flows, and the intensity of emotions, which I articulate through a sculptural language that integrates geometric shapes with color, light, sound, and other components.

Regardless of whether I am composing music, creating installations, or teaching, the forms may vary, yet they all originate from the perception and harmonization of the emotional rhythms that exist between individuals and their environment. For me, these endeavors are not distinct domains–they represent various methods of broadening a singular sensory perspective, ultimately linking to a visual language that unveils that rhythm.​​​​​​​

Why did you choose Namsan as the location for your studio?
For me, Namsan is positioned at the heart of Seoul, embodying both the city's vibrant energy and its tranquil rhythm simultaneously. Striking a balance of energy is crucial to my creative process, and Namsan appears to be a location where various currents converge in harmony–a place that consistently revitalizes my sense of rhythm, circulation, and breath.​​​​​​​ I especially love the sunset view from my studio at the end of the day. As the sun sets, the temperature of the light slowly shifts, changing the atmosphere of the room. In those moments, it feels as if the entire space is being reconstructed by light. That flow of change opens up my senses in a more delicate way.

You studied in the Netherlands. How did your experience in Europe influence your work?
The Netherlands has a distinctive visual culture characterized by the coexistence of order and play. European design and art struck me as being structurally clear, yet they continuously evolve through experimentation, playfulness, and the freedom found within those structures.​​​​​​​
 

I was particularly struck by the harmonious coexistence of classical artistic sensibilities with radical, experimental methodologies. My encounters ranged from traditional forms to avant-garde experiments that incorporate technology, media, and performance, leading me to perceive visual art not merely as a singular genre but as an ecosystem where various sensory layers engage with one another.

The vivid sensory impressions I encountered in Europe—the light, the air, the atmosphere—intensified my awareness of subtle spatial changes. These experiences naturally linked to my ongoing investigation of light and color.

You work as a DJ and a professor as well. What kind of synergy do you find in exploring both art and music?
Although sight and sound may appear to be different forms of expression, I contend that they stem from a common foundation: rhythm. Instead of categorizing genres, I emphasize the collective emotional vibrations that emerge in connection with others. ​​​​​​​ The processes of music creation, installations, and teaching all initiate with the perception and alignment of the emotional rhythms that circulate among individuals and environments. To me, these domains are not isolated; they represent various methods of broadening one’s sensory perspective, evolving into a visual language that articulates those rhythms.

For instance, when I perform as a DJ, the emotional currents I perceive through the audience’s movements and responses seamlessly relate to the changes in color and shape within my visual creations. If music can be regarded as a temporal language, I propose that visual art serves as a spatial language. By delving into both, I craft sensory experiences where time and space harmoniously intertwine.

This is the reason many of my installations commence with the structure and waves of music, subsequently transforming them into visual representations.

Is there an artist who has had a significant impact on you?
I have been profoundly fascinated by the work of the ZERO Group, which originated in Düsseldorf. Their methodology–emphasizing light, form, repetition, vibration, and the notion of time–redefined the world in an innovative manner.

Their performative practices, the reimagining of the connection between art and reality, and their philosophical perspective continue to motivate me.​​​​​​​ While studying in the Netherlands, I attended the ZERO Group retrospective at the Stedelijk Museum. This experience marked a crucial turning point in reassessing my artistic path. In an environment where light, space, and movement were in constant flux, the ideas I had been exploring–cycles, rhythm, emotional waves–suddenly resonated with newfound clarity. The impact of that experience remains evident in my work, influencing my approach to light and rhythm.

Among the various artists, Heinz Mack made a particularly profound impression. Through his performances in the desert and installations that engage with wind, light, and speed, he reminded me that art is a dynamic phenomenon shaped collectively by space, nature, and the human body.

Lastly, could you share a hidden spot in Namsan where you often go for inspiration?
While it may not be precisely a "hidden" spot, I often stroll along the narrow forest trails that diverge from the circular path of Namsan Park. In the section where the older trees grow thickly, I take the time to closely examine the branching formations, the fractal designs of the roots, and the elongated shapes of the trees extending towards the sky. Walking in this area while listening to music serves as a significant moment of sensory training for me.

Another cherished location is the tranquil bench situated behind Namsan Library. In this spot, the sound of the wind, the footsteps of those passing by, and the distant hum of the city converge to create a new rhythm. I find pleasure in sitting there with my dog, absorbing the subtle interaction of those sounds.

For me, these two locations embody scenes where nature and the city exchange breaths. They represent moments when my senses are at their sharpest–truly special places in my daily life.​​​​​​​

Project Planning and Interview: Sohee Shin
Artist: Vakki
Images: Leslie Klatte, Yoonjung Daw
SNS-Shorts: Yoonjung Daw
German & English translation: Leslie Klatte