goseong

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​

"Inhale, Exhale and the Space in Between" presents a triptych of photographs that weave together the anxiety and fear of the pandemic with personal experiences of pain and acceptance. The images capture the pursuit of transcendent realities beyond the present moment, with symbols that explore our connection to ancient cultures and the mysteries of existence. The first photo shows scattered grains of rice on a black floor, evoking the importance of ritual as a mediator between us and the unfathomable world. The second photo shows a person reading the grains of rice, symbolizing the search for meaning and the acceptance of our imperfect nature. The final photo captures the freedom of the wind and light, reminding us that everything is interconnected, and we are part of a greater consciousness.

The exhibition <The White Wall, There> (2021) seeks to offer a respite from the ongoing pandemic and the negative news, inviting visitors to reflect on their own inner world and find meaning amidst the chaos. At the <The Seven Weeks> (2022) presents a hand-stitched artist book of triptychs and a 12 min long, mural screening of 49 quotes and 49 thoughts.



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Pigment Print on Mulberry Paper, 18 cm x 15 cm each, Framed 67cm x 100 cm.

Pigment Print on Mulberry Paper, 18 cm x 15 cm each, Framed 67cm x 100 cm.

많은 사람이 죽었다.

일부 시체들은 아무도 모르게 트럭 안에 방치돼 부식됐다. 유리문 너머로 고인을 보내고 남은 사람들은 도시를 떠났다. 적막한 거리에 어쩌다 마주 오는 자가 있으면 길을 건넜다.


나는 혼자서 아팠다. 무엇도 할 수 없었고, 무어라도 해야 했다. 일어나 맑은 물로 얼굴을 닦고 자리에 앉았다. 눈을 감고 숨소리에 주의를 기울였다. 몸에 집중하였다. 모든 공기를 내어낸 뒤 몇 초간의 정적을 느꼈다. 드물게 고통을 고통만으로 바라볼 수 있는 날도 있었다.


테이블 위에 쌀 한 줌을 펼쳤다. 그리고 그때의 창밖의 바람을 찍었다.
매일 반복하였다. 명상과 촬영은 나의 기도이자 일기가 됐다.
오늘을 견뎌낼 리듬이 되었다.

여러 날이 갔다. 고여있는 마음이 트여갔다.
그동안 무질서와 우연과 오류의 관계를 신비롭게 바라보며 만들어낸
이미지들은 새삼 이질적인데, 그 사이로 비치는 것이, 빈 곳에 무늬를 만들고 울리고 연결되는 것이 마음에 들어 엮었다.

Hand-Made Artist Book 
23 x 23 cm, Archival Bamboo Paper with Pigment Ink, 49 Triptychs, 108 pg, 2020

자신과 세계를 잇기 위해

알 수 없는 것을 이해하기 위해

우리는 ‘이야기’를 필요로 합니다.

고대 신화와 토속 신앙, 점성술


미지와 무지에서 비롯된 혼돈과 공포가 우리를 덮칠 때

어쩌면,

그럴 때는 ‘이야기’가 우리를 택하는지도 모릅니다


그럴 수밖에 없을까요?

이 ‘고리’에 대해 질문하였습니다.

임시적이고 연약한 하루하루를

있는 그대로 관조하려합니다.

Day 28, Archival Pigment Ink on Mulberry Paper, 15 x 18 cm/ea., Ed.1/1, 2020

Day 5, Archival Pigment Ink on Mulberry Paper, 15 x 18 cm/ea., Ed.1/1, 2020

Day 7, Archival Pigment Ink on Mulberry Paper, 15 x 18 cm/ea., Ed.1/1, 2020

The forty-nine sets of triptych were taken during the lockdown due to the pandemic. The world was chaos itself, people were panicking, I was living in the most contagious area in the nation as the national shutdown began. The medical system was about to collapse and a truckful of dead bodies was found in my neighborhood.


I was alone, suffering from post traumatic stress disorder. So I started to meditate every morning; to calm myself down from pain and anxiety. To distance myself from past guilt and regrets. To mourn and pray for the dead drifting souls. After meditation, I scattered rice on the table like a fortune teller. I took a photo of the signs and made a self portrait of my back looking at the table top. And I captured the wind outside my window at that moment. Over time, this ritual brought a positive rhythm towards achieving balance in my mind and body. I began to see this practice as a ceremony referred to as "Sasipgujae" and composed a triptych with the daily works created for 49 days.

*Footnote
Sasipgujae is a ceremony held during the period when the spirit of the deceased remains in the realm between the worlds of the living and the dead. It also represents the end of the Buddhist mourning period of 49 days, in after which the bereaved family returns to normal life and the spirit of the dead to the afterlife. While sasipgujae is a Buddhist event to guide the spirit of the dead to the land of bliss, it also fulfills the social function of ending the mourning period set by Confucian ideas and the psychological function of haewon (Kor. 해원, Chin. 解寃, lit. release from regret).
From Gumirae, Korean Rites of Passage, Encyclopedia of Korean Folk Culture, National Folk Museum of Korea 

<일곱 번의 일주일>

2022.9.3 - 2022.10.2
Artspace Eonju Round, Seoul, S.Korea

<흰 바람벽이 있어>
2021.2.22 - 2021.5.8
BMW Photo Space, Busan, S.Korea

( slide → )

​

"Inhale, Exhale and the Space in Between" presents a triptych of photographs that weave together the anxiety and fear of the pandemic with personal experiences of pain and acceptance. The images capture the pursuit of transcendent realities beyond the present moment, with symbols that explore our connection to ancient cultures and the mysteries of existence. The first photo shows scattered grains of rice on a black floor, evoking the importance of ritual as a mediator between us and the unfathomable world. The second photo shows a person reading the grains of rice, symbolizing the search for meaning and the acceptance of our imperfect nature. The final photo captures the freedom of the wind and light, reminding us that everything is interconnected, and we are part of a greater consciousness.

The exhibition <The White Wall, There> (2021) seeks to offer a respite from the ongoing pandemic and the negative news, inviting visitors to reflect on their own inner world and find meaning amidst the chaos. At the <The Seven Weeks> (2022) presents a hand-stitched artist book of triptychs and a 12 min long, mural screening of 49 quotes and 49 thoughts.



( slide → )


Pigment Print on Mulberry Paper, 18 cm x 15 cm each, Framed 67cm x 100 cm.

Pigment Print on Mulberry Paper, 18 cm x 15 cm each, Framed 67cm x 100 cm.

많은 사람이 죽었다.

일부 시체들은 아무도 모르게 트럭 안에 방치돼 부식됐다. 유리문 너머로 고인을 보내고 남은 사람들은 도시를 떠났다. 적막한 거리에 어쩌다 마주 오는 자가 있으면 길을 건넜다.


나는 혼자서 아팠다. 무엇도 할 수 없었고, 무어라도 해야 했다. 일어나 맑은 물로 얼굴을 닦고 자리에 앉았다. 눈을 감고 숨소리에 주의를 기울였다. 몸에 집중하였다. 모든 공기를 내어낸 뒤 몇 초간의 정적을 느꼈다. 드물게 고통을 고통만으로 바라볼 수 있는 날도 있었다.


테이블 위에 쌀 한 줌을 펼쳤다. 그리고 그때의 창밖의 바람을 찍었다.
매일 반복하였다. 명상과 촬영은 나의 기도이자 일기가 됐다.
오늘을 견뎌낼 리듬이 되었다.

여러 날이 갔다. 고여있는 마음이 트여갔다.
그동안 무질서와 우연과 오류의 관계를 신비롭게 바라보며 만들어낸
이미지들은 새삼 이질적인데, 그 사이로 비치는 것이, 빈 곳에 무늬를 만들고 울리고 연결되는 것이 마음에 들어 엮었다.

Hand-Made Artist Book 
23 x 23 cm, Archival Bamboo Paper with Pigment Ink, 49 Triptychs, 108 pg, 2020

자신과 세계를 잇기 위해

알 수 없는 것을 이해하기 위해

우리는 ‘이야기’를 필요로 합니다.

고대 신화와 토속 신앙, 점성술


미지와 무지에서 비롯된 혼돈과 공포가 우리를 덮칠 때

어쩌면,

그럴 때는 ‘이야기’가 우리를 택하는지도 모릅니다


그럴 수밖에 없을까요?

이 ‘고리’에 대해 질문하였습니다.

임시적이고 연약한 하루하루를

있는 그대로 관조하려합니다.

Day 28, Archival Pigment Ink on Mulberry Paper, 15 x 18 cm/ea., Ed.1/1, 2020

Day 5, Archival Pigment Ink on Mulberry Paper, 15 x 18 cm/ea., Ed.1/1, 2020

Day 7, Archival Pigment Ink on Mulberry Paper, 15 x 18 cm/ea., Ed.1/1, 2020

The forty-nine sets of triptych were taken during the lockdown due to the pandemic. The world was chaos itself, people were panicking, I was living in the most contagious area in the nation as the national shutdown began. The medical system was about to collapse and a truckful of dead bodies was found in my neighborhood.


I was alone, suffering from post traumatic stress disorder. So I started to meditate every morning; to calm myself down from pain and anxiety. To distance myself from past guilt and regrets. To mourn and pray for the dead drifting souls. After meditation, I scattered rice on the table like a fortune teller. I took a photo of the signs and made a self portrait of my back looking at the table top. And I captured the wind outside my window at that moment. Over time, this ritual brought a positive rhythm towards achieving balance in my mind and body. I began to see this practice as a ceremony referred to as "Sasipgujae" and composed a triptych with the daily works created for 49 days.

*Footnote
Sasipgujae is a ceremony held during the period when the spirit of the deceased remains in the realm between the worlds of the living and the dead. It also represents the end of the Buddhist mourning period of 49 days, in after which the bereaved family returns to normal life and the spirit of the dead to the afterlife. While sasipgujae is a Buddhist event to guide the spirit of the dead to the land of bliss, it also fulfills the social function of ending the mourning period set by Confucian ideas and the psychological function of haewon (Kor. 해원, Chin. 解寃, lit. release from regret).
From Gumirae, Korean Rites of Passage, Encyclopedia of Korean Folk Culture, National Folk Museum of Korea 

<일곱 번의 일주일>

2022.9.3 - 2022.10.2
Artspace Eonju Round, Seoul, S.Korea

<흰 바람벽이 있어>
2021.2.22 - 2021.5.8
BMW Photo Space, Busan, S.Korea

Using Format