SCORE : SONNET, Twelve Moons
The circular canvas embodies the “Twelve Moons,” visually articulating the human life cycle through the twelve phases of the waxing and waning moon. The waxing moon symbolizes moments of growth and hope, while the waning moon signifies decline and reflection. These differences ultimately converge into the recurring processes of fullness and emptiness, disappearance and regeneration. The work reminds us that life does not unfold along a linear trajectory of progress, but rather acquires meaning through cyclical movement. By invoking the lunar cycle, the artist expands fragments of personal experience into a universal temporality, emphasizing that recovery is not an isolated event but a necessary rhythm repeated within the laws of nature and the cosmos.
The foundation of the work consists of hundreds of acrylic layers, a structural method that underpins the Mindmap series. These accumulated strata function as a psychological topography, compressing traces of daily life, memory, and experience. The materiality of the marble fragments added on top does not serve as mere decoration but embodies the “residues of wounds.” Though they appear scattered in disorder, they in fact coalesce along flows of ascent and descent, metaphorically transforming the traces of pain and deprivation into the very ground for recovery and renewal.
The entire surface is enveloped in Carbon Black, a pigment that signifies carbon—the primal substance of life—pointing simultaneously to beginnings and endings. Black here is not simply a background color; it absorbs all light while symbolizing infinite inclusivity and tolerance. Thus, the work integrates the spatial sensibility of East Asian ink painting with the material intensity of Western practice, revealing the coexistence of opposition and contradiction within a single field.
Through the dual meaning of score—as both “marks of achievement” and “musical notation”—the work juxtaposes the records of life’s milestones with the beauty of every moment expressed through the pentatonic scale. SCORE thereby visualizes our lives as a performance, where each instant unfolds simultaneously as a mark and as a melody.
SCORE : SONNET
A sonnet is originally a literary form, a fixed-form poem that adheres to a strict structure of 14 lines and a certain rhyme scheme. Derived from the Italian word 'Sonetto (little song),' it traditionally possesses structural logic, presenting a problem in the first 8 lines (Octave) and a resolution or counter-turn in the following 6 lines (Sestet). Elaborate rules exist depending on the era and the author, such as the Petrarchan sonnet and the Shakespearean sonnet.
Although it is a literary term, cases can be seen in music where the structural form or literary emotion of a sonnet is musically borrowed, such as Liszt's 'Petrarch's Sonnet 104.' However, it is appropriate to understand it as a work borrowing a literary motif rather than a genre of music itself.
Similarly, LIMHANA's form of composition or work also represents the form of SONNET. As a visual artist, it characteristically possesses a synesthetic method of architectural structure planning or a logical structure of problem-solving regarding the conundrum of the Gordian Knot and Ariadne's thread. As a composer, it is a form of paradoxical Cadenza through canon form or literary wordplay and standardized structural forms.
The five 'twelve months' of SONNET imply the Eastern pentatonic scale and agree with the musical orientation embodying Isang Yun's Eastern philosophy. SONNET, including the nine 'twelve months' to be showcased in this exhibition, expands this into 9 circular canvases to deepen the musical and literary structure. Musically, this is a notational development of the '9-tone scale' formed by stacking perfect fifths eight times. The 9th tone, right before completely closing into 12 tones, visualizes the 'infinite circulation and resonance' that spirals and extends endlessly rather than a completed circle. Simultaneously, in a literary sense, it metaphorizes the 'Volta (the turning point of the 9th line),' a decisive line where the flow of poetic thought changes dramatically and leaps to a new dimension of contemplation in a 14-line sonnet. The 9 tones and lines placed on the 4.5-meter blank space are a visual rhythm created by structural inevitability, transcending a simple expansion of scale.
Core Keywords: 14-line regularity, strict structure, logical development, literary emotion.
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
