Drawing, Touching — The Moment of Perspective’s Disappearance

In this work, a scanner device records objects by tracing them with light. The subjects—a hand and a pencil, familiar and modest in themselves—remain in contact with the scanner’s surface throughout the process. As the light source travels laterally across the glass, it “traces” the object from a single direction, generating the image.

Unlike a camera, the scanner does not select its composition through a lens or viewfinder. Rather, it records the very movement of tracing a material surface, apart from the conscious act of framing. In this process, the subject, the device, and the movement of the artist’s hand intersect directly. Minute variations in speed or pressure distort forms, and certain areas are scanned multiple times. As a result, different angles and traces of the scanning process overlap within a single frame.

The resulting image is multi-perspectival, yet cannot be fixed to any specific viewpoint. Perspectives diffuse and, through their accumulation, dissolve the very coordinate of “viewpoint” itself—arriving at what might be called the disappearance of perspective at the far end of multiplicity.

What appears are the fingertips and the pencil, not intentionally depicted as subjects, but emerging as tactile traces—warping, separating, and overlapping as they pass through the scanning process. Like a line of pencil smudged softly by the hand on paper, here “drawing” and “touching” are indistinguishable, and vision arises not from line but from the pressures and humidities of skin-like sensation.

When a device designed for the precise and stable delivery of images admits the bodily contingency of contact, the image departs from the control of one-point perspective and compositional order, producing a subtle rupture. What appears is a chance trace that emerges precisely because it has been “touched.”

This work is the record of that rupture—of the moment when contact slightly loosens the framework of the device, when the viewpoint dissolves and loses its place, and when an image, at once multi-perspectival yet without any singular perspective, unexpectedly comes into being.