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In a dialogue with Jinbeom Park, Research.Newlife delve into the captivating realm where reality and digitality merge, exploring the intricate ties between fashion and 3D graphics. Park's insights provide a glimpse into the convergence of these two seemingly disparate domains, offering a nuanced perspective on the interplay between technology and creativity.

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D: Your creations reveal not only your exceptional design skills but also your keen sensitivity as an artist. We'd love to hear more about you in your own words. Could you share a bit about your personal and artistic journey, as well as your current interests and inspirations?
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J: I'm a 3D visual artist named tec1n, based in Korea. I utilize virtual objects and environments that do not exist in reality as a medium to visualize two separate worlds: the real and the digital realm. During my creative process, I establish a standard for the visuals I aim to achieve. This standard undergoes multiple modifications and iterations until it meets my criteria. Even if it may appear trivial to others, I persistently revise it countless times until I am fully satisfied and I'll only stop when I have achieved the visual outcome I truly desire. (Fortunately, people appreciate my visuals despite the practice and errors involved.)

My interests encompass technology, fashion, and movies. I actively explore these domains, frequently discovering new things with each exploration. They serve as a constant source of visual inspiration for me. I usually like to observe something, imagine it in another way, and put it into reality, and various inspirations arise from the repetitive action.

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D: We're curious about the role fashion plays in your self-expression. When did it first capture your interest, and why do you believe it is significant in conveying your artistic vision?
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J:

"Fashion doesn't talk. Therefore, in fashion, expression should be more sensuous and refined than anything else."
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My journey into the world of 3D graphics did not begin from scratch. Initially, I pursued a non-major path, and when I contemplated my college career, fashion caught my interest. Fate led me towards the field of video design, where I first encountered the realm of 3D graphics. My appreciation for fashion extends beyond its mere appearance. The fashion industry exhibits a remarkable sensitivity to trends, with rapid changes as the norm. To stay ahead of these trends, the fashion market consistently strives to create novel visuals, readily incorporating new technologies.

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Fashion visuals encompass qualities of sensuality, refinement, luxury, and allure. It was my aspiration to imbue my 3D visuals with these captivating characteristics. Thus, I endeavored to merge the alluring elements of fashion and 3D graphics, tirelessly experimenting until I discovered my unique mood and visual style.

To this day, I diligently peruse the visuals of numerous fashion brands every morning, treating it as though I were reading a newspaper.

Amidst this abundance, I search for elements that harmonize with my style, seeking opportunities to merge and fuse them together.

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D: In your work, we observe a compelling fusion of gaming avatars and transhumanist exoskeleton like skins. What inspired you to explore 3D character creation, and what draws you to experiment with human faces and styles? Are there any specific influences that have guided you along this path?

J: Ever since my childhood, I developed a profound fondness for anime and video games, an affection that remains unwavering to this day. These mediums have always been a boundless source of imagination and inspiration for me. The influences they have steadily imprinted on my mind find their way into my designs, and I continue to be influenced by them in an ongoing manner.

Coincidentally, my friend and art director, Yuen Hsieh, approached me with an idea: "Why don't we collaborate on creating a game character?" Without hesitation, I eagerly agreed, and he took charge of the visual direction and background setting for the character. From there, I infused various imaginative elements and visuals, resulting in the creation of a captivating fusion character.

Throughout the project, our collaboration was filled with conversations about our individual preferences, character visuals, and fashion inspirations. Working together was an immensely enjoyable experience.

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D: Can you tell us a little about your personal project "Gantz"?
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J: The “Gantz” project is my personal visual project. The original animation Gantz by “Oku Hiroya” is a sci-fi cartoon that takes place in the present time. If you are curious about Gantz, I highly recommend watching it at least once! It is a work that can be said to have destroyed the cliché in which all events revolve.
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All of the characters can be the main character, and everyone has their own story. These characters gather in one space, receive weapons and missions delivered by an unknown black sphere, and engage in a duel with the mysterious saints.
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“Everyone can be a main character, and everyone has their own story.”

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In most movies and animations, there tends to be a central protagonist with the remaining characters serving as supporting roles. However, I yearned to give each character their own story, much like envisioning all the models in a fashion show as main characters in their own right. Each character would possess a unique personality and fashion style. Some may don a special costume, while others may showcase luxury fashion brands or custom suits.

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I was fascinated by the visuals and the potential synergy that would emerge when individuals with diverse styles and personalities converged in a single space. To explore this curiosity, I embarked on my project called Gantz, where I sought to meld these elements together.
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D: What are your thoughts on the future of digital fashion in the years to come?

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J: Advancement of technology = Advancement of fashion.

I believe that the fashion industry will continue to evolve across various domains. Currently, we are confronted with significant challenges such as environmental pollution and climate degradation. The fashion market itself contributes to environmental damage, making sustainable fashion an imperative that we must undertake. In this endeavor, technology plays a crucial role, and digital fashion stands as a prime example.
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