Cascade of Emotions
This work reveals the inner tension and duality of contemporary emotions through the contrasting materiality of fabric and an installation-based approach. By draping an oversized blackout curtain, the process visualizes the collision between emotions one wishes to conceal and situations that inevitably expose them.
The blackout curtain, with its capacity to block light completely, recalls humanity’s primal fear—darkness. Extending over 11 meters, it functions not merely as a material but as a psychological device embodying the weight of emotion and the tension of human relationships. The artist’s repetitive draping process visualizes the “layers of emotion” while simultaneously recording traces of relationships accumulated over time.
In contrast, organza—with its thin and transparent texture—serves as a device that reveals “stories that cannot be hidden.” If the blackout curtain represents the impulse to conceal, organza symbolizes the inevitability of suppressed emotions rising to the surface. The juxtaposition of these two materials encapsulates the inner reality of modern individuals caught between what they wish to hide and what must inevitably be revealed.
Ultimately, this work is not a mere spatial decoration but an installation narrative where material properties and symbolic metaphors converge. Not to Be Seen, Yet Unavoidably Visible weaves the emotional fabric of contemporary life—between light and darkness, concealment and revelation, suppression and confession—presenting a psychological landscape of inevitable tension in emotions and relationships.
Tree of Thought
Tree of Thought is a variable installation composed of an antique chair combined with real branches. At its center, the chair—presented in a state of “fragile handling” and stripped of function—becomes a locus of absence, while the branches extending outward visualize the proliferating force of thought. The audience encounters both the impossibility of sitting and the infinite expansion of branches, confronting the incompleteness of memory and the ceaseless surge of inner narratives.
The chair, once a site of rest, no longer functions, symbolizing the absence of a place for thought and evoking lost memories and unrecovered relationships. Yet the branches erupting from it embody generative energy, suppressed memories, and inner stories reaching outward. Like the tale of Jack and the Beanstalk, they propose an imaginative space that transcends reality’s constraints, immersing the viewer in the infinity of thought.
The materiality of the branches is crucial: once part of a living organism, they cease biological growth when cut, symbolizing rupture. Yet here they persist as “forms of expansion,” continuing infinite growth at the level of form and symbol. This paradox reflects the endless cycles of memory, thought, and nightly contemplation.
Thus, Tree of Thought is not a singular object but an installation embodying the dual structure of memory’s loss and thought’s expansion. Extending beyond the plane of traditional painting into a spatial and narrative form, it juxtaposes “the seat that cannot be occupied” with “branches that endlessly grow,” revealing the paradox of existence and thought, incompleteness and infinity. In a contemporary context, it can be read as a visual archive externalizing the inner landscape.
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
