“One night at the age of thirteen, beneath the moonlight seeping through the cracks of a rooftop window, I encountered an unfamiliar fear. The overwhelming presence that seemed to press down upon me was none other than the ‘shadow of my own toes.’”
 
This episode encapsulates the “dual aura” that underlies the artist’s practice at the time. Within a single object, its material presence inevitably coexists with a counterbalancing energy that stands at its very opposite. Just as a stronger light produces a more grotesque shadow, the essence of being is completed only when opposing concepts are integrated.
 
The ‘Image( )-Image( )’ series projects fragmented and distorted images into space through mirrors, dispersing and disassembling the image in multiple directions. The abnormally elongated movement of hair within the frame stimulates an archetypal fear latent in the depths of the viewer’s psyche. At the moment when the familiar form of the “self” transforms into a “strange monster,” we are compelled to confront the concealed truth within.
  
Image( )–Image( )3, 2000, Variable installation using three mirrors and three projectors
— Grotesque Pulsation, the Sound of Bells Awakening the Abyss
“When what is visible becomes distorted, the invisible sound turns into a scream.”
 
This work was presented in the exhibition 《Analogue》, held at the Art Center of the Korea Culture and Arts Foundation in 2000.

Image( )–Image( )3 represents the apex of Park Jung Hyuk’s “Psychological ritual,” in which visual distortion and auditory stimulation converge. Three mirrors and three projectors fragment a single male figure into three grotesque forms.
 
On screen, a long-haired man repeatedly nods his head. Small bells suspended from the ends of his hair emit irregular and piercing sounds in accordance with his movements. Within the edited sequence, the unnaturally repetitive ringing transcends mere noise, striking at the archetypal fear embedded deep within the viewer’s unconscious.
 
The lingering afterimage of the enlarged projection and the resonance of the bells penetrating the eardrum converge within the physical structure of this “Variable installation.” In this spatial configuration, the artist draws the viewer into a peculiar vortex of emotion.
 
What do you hear within this repetition?
Is it a gesture toward salvation, or a signal of a collapsing self?