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The Unknown Land

Let’s go back to 2007. I think I wanted to make it a very lonely yet enjoyable space. Looking at an open space through a gap was a composition I loved since I was young. No one recognizes me, and I can freely look at the world one-sidedly. When I think about why I did that, it was a solution that I wanted to make my presence more visible. It still is. The world I see coexisting with others is a stage, and I hope to communicate on their behalf from a different perspective within it.

l am a huge fan of Hofesh Shechter , Akram Khan , Pina Bausch who was a significant contributer to a neo-expressionist dance tradition now known as Tanztheater. Being on stage at a theatre is like listening to Beethoven's symphony, or seeing an exotic or geographically surprising landscape. This is a bit connected to me on the extension of harmony and baroque sensibility.
Thinking about how each memory and experience of each viewer in the audience will work while looking at one place, raise us to an infinite future toword a more positive mode.. With this drawing in mind, l tried to reveal the feelings of a kind of atmosphere.

2003년 으로 거슬러 올라가 나의 그림을 마주하면  그 때도 나는 내 주변를 매우 낮설게 보고 새롭게 보기를 시도했던 흔적이 보여 올려본다.  
When I go back to 2003 and look at my paintings, I look up and see traces of how I looked at my surroundings very indifferently and tried to see them anew. I come out of myself and see myself as a stranger, and my space also accepts me as a stranger.

내가 나에게서 튀어나와 나를 타인으로 보고 내 공간도 나를 타인으로 받아들인다. 
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