Jang Yeonjeong

Artist Statement:

My practice explores the notion of the digital sublime through speculative botanical forms that exist beyond natural ecology. Rather than representing nature I construct environments where organic logic remains but biological function has ceased. What appears as flora is not alive not growing, and not decaying—it is a residual structure suspended in a state of continuous presence.

Digital Sublime Flora is an ongoing series that investigates how form, rhythm, and sensation persist after systems of life collapse or become obsolete. These works do not depict plants as symbols of vitality or regeneration. Instead, they examine what remains when nature is translated into data: surface without metabolism movement without evolution and complexity without hierarchy.

Using generative processes and computational motion, I build digital organisms that reject narrative progression. There is no blooming, no climax, and no resolution. Motion functions as subtle vibration rather than transformation—suggesting endurance rather than growth. Each form exists autonomously, yet within a shared spatial field where no single element dominates. This suspended equilibrium invites prolonged attention, encouraging viewers to remain within the work rather than move through it.

The aesthetic language of my work draws from scientific imaging, archival systems, and the visual logic of digital simulation. Translucent membranes, filament-like structures, and particle-based surfaces recall biological detail, while simultaneously revealing their artificial construction. These forms behave as digital specimens—archived not to preserve life, but to document its afterimage.

Video is a crucial medium in this practice. Time is not used to advance a story, but to hold a condition. Through slow temporal shifts and continuous motion the work becomes spatial rather than narrative allowing it to function as an immersive visual field suitable for large-scale screens and architectural contexts.

At its core, my practice asks how we perceive sublimity in an era where nature is no longer untouched, and where digital systems increasingly mediate our experience of the organic world. Digital Sublime Flora proposes a quiet restrained form of sublimity—one rooted not in spectacle but in sustained presence, stillness, and the tension between memory and simulation.