Anosognosia is the state of being in which an individual is unaware of his or her disability.
But what’s the opposite? If anosognosia is the unknown unknowns, what are the known knowns?
When we focus on so much of the unknowns, such as the known unknowns, the unknown knowns and the unknown unknowns, we fail to see the known knowns.
What are the known knowns? It’s today. It’s right now.
I try to relate known knowns to questions we know the answer to, especially when it regards ourselves. There’s nobody who knows you more than you know yourself. Although others can interpret a sort of beauty in us, we tend to focus on the imperfections we know exist and the beauty that we claim “doesn’t exist”. But why overlook them? Why do we concentrate so much on the unknowns when we have the knowns right here?
“I’m not sure how I did on that test.”
But what about what you’ve learned? Even though you may not have known number 32. what were the sure things you took from the reading?
“I don’t know if he likes me back.”
What about your feelings? You know that you like him, so concentrate on that.
Let’s bring it back to art now. When it comes to paintings, there are knowns and unknowns. Knowns would be the kind of paint used, or the canvas size. The unknowns lie in the creation, the understanding, and the false reality it presents.
But Kang Kang-Hoon’s oil painting brings it all into the foreground. It’s blunt. It’s a sure fact. It’s called HYPERREALISTIC. What this means is that we are going to embrace the knowns. That means the mistakes, the flaws and everything we see for a fact in ourselves and not external forces and beings. It’s the blood-shot eyes, the greasy forehead, the you-missed-a-spot on your scruffy chin: it’s your most human features that are known to you.