Designer’s Statement by Jeski 

 Our visual method centers on the notion of “subtraction”. This is abbreviation, in other word; 

it is a creation through reduction, substitution, and modification. 

We prefer to pull things out rather than pushing things into my works. 

It's like using an eraser as a pencil; the eraser is the most important creating tool in my works. 

Then reduction creates the absence, and nothingness becomes something.

  Absence of things might similarly work as silence in communication. Would saying more words communicate better? 

Actually, No. We think it works in the opposite way. As we prefer simplicity through subtraction than addition, 

Our works exist in dichotomy where addition is completed through subtraction and completeness through incompleteness.

  “Nothingness” in our works are similar to “Reticence” in conversation.  

In communication, more is not always better. We actually think it’s the opposite. 

In our general conversation, what percentage of our discourse has meaning is really needed? 

Unnecessary and additional expressions dominate while required discourses are limited in conversation. 

Like silence sometimes “out-speaks” thousand words, emptiness often “out-powers” fullness in visual communication. 

Interestingly, human emotion instinctively reacts more dynamically to “un-hearable” and “un-seeable” things, 

such as fear, fantasy, sexual excitement, and certain expectations…

While the impact of visible things is limited, the impact of invisible things is unlimited.

  So in reality, We agonize for ways to show less in order to show more during the visual communication process. 

We strive to show that the less is more, and the smaller is bigger. The emptiness is being filled with infinite possibilities. 

The possibilities of emptiness transform into an open-room where audiences can come and enjoy. 

Then the audiences participate into creation. Deeper communication, bigger emotion is presented. That’s the power of absence.

 Inserting or leaving behind unnecessary visual features is as much unfavorable as adding unnecessary touches to an object. 

Unnecessary creations are nothing but pollutants and garbage. 

Products of humans’ unnecessary yet overly produced and consumed creations surround us like pathogens to give us allergies and headaches. 

Unnecessary creations are closely related to excess desires of the public and these desires are closely related to responsibility of designers.

 “If we can imply new meanings to already existing things, do we really need to create something new?”  

We might have all we needed. We might just not know it.

 Our entire graphic projects begin from pre-existing things that can be easily found around me, such as everyday newspaper, 

outdated magazines, traffic sign, junk mail, used subway tickets, etc…

They are great source of our graphic works. They are everywhere and they are free. 

These things are often considered abundant, ugly, cheap and common. 

But in reality, problem exists in our eyes, perception, not in the object itself.

  Our challenge is a “Light touch”. Artificial modification is not always necessary for creating something new. 

If we see things from slightly different angle, things can change dramatically. 

Minimal touches are often more than enough to create something with extra-dimensional quality and meaning.

 We do not want to modify their brilliant creations. We just love the way they are. We’re fascinated to everyday objects, everyday aesthetic. We love magnificent beauty of originals.