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a traumatic illusion that caused suffering from burns when he was
a child. The important formal and internal characteristics of Sata's
photograph are consists of various images created by his obsessive
emotions.
The photographic composition technique, which takes the largest
part of his work style, was used to overcome boundaries of me-
chanical limitations and artistic expression of photographs before
digital technology appeared. Early in the 1920s, unlike previous pic-
torialists, the photographic composition such as Photomontage of
Dadaism began to manifest various inner aspects of the artist. In
the case of Jerry N. Uelsmann, he also used a multiple magnifiers in
a black-and-white darkroom to synthesize unfamiliar and illusional
images, similar to Photoshop's morphing and juxtaposition.
Now, the combining the images through the digital process has
evolved into an expression tool of non-existent virtual reality. Using
3D digital processes, for example, a variety of effects are possible
compared to the flat image tool. Sata's work induces various meth-
ods to create virtual shapes and spaces beyond Photoshop that is
SATA Metamorphosis BOOOM photography on resin, mixed
media 25x18cm 2017 a flat image editing tool. By adding LED lights to the photographs,
it stimulates the feast to the world of transcendence. The strange
over the place. The artist is facing the object that is flapping its forms of the object of illusion are reconstructed metaphorically
feather or is standing in front of an object but trying to look away and semiotically by reality, the symbol, and the imagination. In his
from it at that instant moment. To Sata, 'chicken' is an existence recent work <NEUTRON SaTAR>, he used an electric magnetic
that enables him to soar through the past or the imaginary tran- field or materials such as resin to add the sense of depth in three
scendent world beyond reality, and is a medium that makes him to dimensions. In addition to the flat work, he utilizes such a variety
experience the transcendent world beyond reality. of materials and, depending on the content of his work, doing the
In addition, it is the 'water' that often appears as a medium of emo- video work in parallel.
tion in the works of Sata. The space that appears in his imagina- A full-time artist, Sata enjoys a post-visualization work style that
tion is often expressed by water. In ancient myths, philosophy, and is arbitrary and subjective, based on his own reading of emotions,
modern times, 'water' is the beginning and also the end. It has a rather than following epochal trends. This is an escape from men-
dual meaning as life and extinction. Rao-tzi, the philosopher of the tal trauma he experienced obsessively, and it is a mourning of his
Chinese Spring and Autumn period, said that the best virtue is wa- experience and memory and is also an expression of the image
ter and the water is the being that is nearest to the ultimate moral for the recovery of lost feelings. Sata's rumination of the past is
sense. What Rao-tze saw the value in the water was the harmony also a comfort to himself, and the 'self-recollection' method influ-
that was achieved while accepting all kinds of conflict things in the ences the healing and emotional cleansing through self-reflection,
world. The water is a source of life creation even in disordered and also makes the galleries subside which is the power of Sata's
conditions, and this is also the case in the work of Sata. It is also photograph.

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