52-Hertz Whales : 유동(流動, Fluktuationen,1964 )
This work translates the wave cross-section of the 52-Hertz whale into the form of an Oriental landscape painting, inspired by composer Isang Yun’s orchestral masterpiece Fluktuationen (1964). The whale’s frequency, singing at a pitch undetectable to others, serves as a poignant metaphor for the disconnection and lack of communication prevalent in modern society.
By visualizing these vibrations as "tree rings"—the enduring scars of surviving a harsh winter—I seek to give physical form to the invisible traces of life that have overcome adversity. Ultimately, the work presents a paradox on the surface: that our stories of "withstanding the trials of winter" will eventually shine as a shared beacon of hope for everyone.
52-Hertz Whales: Fluktuationen (流動, 1964)
This work is inspired by the solitary "52-Hertz Whale" and the orchestral masterpiece Fluktuationen (1964) by composer Isang Yun. The 52-hertz whale, known as the loneliest creature for singing at a frequency no other whale can hear, serves as a poignant metaphor for the disconnection and lack of communication prevalent in modern society.
I have visualized the 52-hertz frequency—the number of vibrations per minute—as "tree rings," which symbolize the enduring scars of surviving a harsh winter. By translating these vibrations into the aesthetics of Oriental landscape painting, I sought to give form to the invisible traces of life that have overcome adversity.
The material contrast is achieved through the use of vibrant deep-pen inks and traditional Oriental silver powder (銀粉), creating a unique dialogue between Eastern and Western mediums while establishing a rich, three-dimensional texture. The overlapping mountain ridges, reminiscent of John Bunyan’s The Pilgrim’s Progress, represent the many arduous tasks and journeys we must undertake in life. The blurred boundaries between these peaks reflect the inherent "uncertainty" of our existence.
Furthermore, the work resonates with the turbulent dissonance found in measures 60–100 (Takt 60–100) of Isang Yun’s Fluktuationen. This crashing, wave-like disharmony represents both my internal state during the creative process and the collective heart of those suffering through recent global instabilities. Ultimately, I wish to present a paradox: that our stories of "withstanding the trials of winter" will eventually shine as a beacon of shared hope for everyone.
Exhibition & Acquisition History ן
2026 OSTEN BIENNIAL Skopje 2026 – SELECTED ARTISTS / FINALISTS
National Gallery of R.N. Macedonia – Chifte Hammam (Selector: Kornelija KONESKA)
2026 Venice Biennale Pavilion : Korean Contemporary Art 국가간의 경계를 넘은 한국현대미술 작가 展
Palazzo Pisani-Revedin, S. Marco, 4013A, 30124 Venezia VE, Italy l Invited
2026 Public Design Festival Seoul-Jeju Project 'Vocalise' Korea Craft & Design Foundation (KCDF) Collaboration
2025 Tongyeong Cultural Foundation "Tongyeong Creator 365 Week" Residency: Work selected (Creative Grant)
Collection ן
2025 Tongyeong Cultural Foundation(Creative Grant)
Waterfall of Emotions
Emotional Cascade: Spatial Resonance
Section A: Vertical Abyss, Facing the Inner Self from the Height of the Abyss waterfall of Emotions and Tree of Thoughts. The inner self, which one wishes to hide, is expressed through an 11-meter large blackout fabric—the height at which humans feel the most fear—while situations that cannot be concealed are represented through transparent organza, showing a contrast of materiality. The vertical design of the large fabric and SCORE, which embraces the twelve months, embodies the Oriental pentatonic scale.
Section B: Horizontal Pilgrimage, A Forest of Sculptures Passing Through a Horizontal Journey Forest of Architecture Infinite Hexahedral Body. This is a forest of sculptures inspired by Yi Sang’s poem, Architecture Infinite Hexahedral Body. The three-dimensional perspective design consists of 27 square cubes. The twelve sculptures are designed so that the audience becomes the wind, the musical theme of this work, and walks among the pieces. Furthermore, it symbolizes the twelve stones of Israel, recalling the miracles of overcoming life's hardships and speaking of hope in the promised land finally encountered.
Section C: Deep Resonance, Traces of Sound Visualized through Deep Resonance 52-Hertz Whales and Fluktuationen. This section visualizes the 52-hertz vibration, a sound that someone cries out but remains unreachable. The waveform of the vibration is expressed as a traditional Oriental landscape painting using dip pen ink, representing the traces of tree rings that have endured the trials of winter. Motivated by Isang Yun’s piece of the same name, sections 60 to 100 are expressed through 40 individual works, depicting the journey of the Christian from The Pilgrim’s Progress.
Scent: A synesthetic exchange involving sight, touch, and smell is attempted, including a theme-based fragrance created in collaboration with visually impaired perfumers.
Music: The artist, who is also a composer, intends to use her original composition as the exhibition’s OST. The piece, composed as a modular round, tells the story of moments in our life cycle, ranging from the warm spring breeze to the storms of life, and finally, a recollection of the last moments. In Korean, the word baram carries the dual meaning of wind and hope. Ultimately, what she speaks of is the hope found in the valley where the wind blows. The Korean version of The Wind Blows, which was selected as the OST for a famous Chinese drama, was used for this piece.
Waterfall of Emotions Emotional Cascade: Spatial Resonance
Full Detail : https://url.kr/67omlf
