Interpreting the sequential drawings in Nam June Paik’s print reveals messages about communication through telecommunications technology and peace. In Frame on Color Bar, these images are reproduced on a 16mm film strip and set in motion, while AI on Frame reinterprets the work through AI. Juxtaposing the two films reveals moments of error in the technological interpretation and transmission of images. Frame on Color Bar x AI on Frame (2026) traces the transformation of media from drawing and print to film, video, and AI, prompting reflection on cinema and the history of image reproduction.

Experimental filmmaker Seo Won-tae gathers images extracted from a sequence of drawings in prints by Nam June Paik and presents them as two parallel collages. Paik’s fragmentary repertoire carries a subtle message of peace, while Seo’s application of these images develops into an experiment with the medium grounded in the properties of the image itself. Frame on Color Bar collages Paik’s primal figures—people traveling on various animals, hearts, glasses, cars, tanks, guns, and airplanes—while AI on Frame places alongside them the ways these images are transformed through AI mechanisms.
Observing the interaction between the originals and AI-generated footage, this exercise in comparative image studies maps how technological evolution refracts our perception of images and how the conditions of media continue to develop in unpredictable directions.

Through a reinterpretation of Nam June Paik’s prints, this work demonstrates the medium transformation across drawing, printmaking, film, video, and AI, prompting aesthetic discourse on the history of cinema and reproductive media. In particular, it addresses debates surrounding AI cinema—which generates images based on archived data—specifically exploring the replication grounded in originals and the creation of new artistic forms.

• Producer서원태 SEO Won-tae
• Screenplay 서원태 SEO Won-tae
• Cinematography 서원태 SEO Won-tae
• Edit 서원태 SEO Won-tae

SEO Won-tae | cinewontae@gmail.com