1’x1’ per each page, 2021

to the manuscripts

artist’s hair and pubic hair, saliva, tears and urine, finely powdered mixtures of artist’s body dusts (dead skin cells, scabs, earwax, nails, sweat, uric acid, dandruff, nails, nasal mucus, etc.), 91 inkjet prints on Hahnemühle Photo Rag Bright White 310g/sm, boundary coordinate data (J2000) from IAU

I might be cast here somehow, and still do not clearly and confidently know why and how I came to breathe. The unknownness given always makes me exist.

In accordance with a somewhat reliable standard, contemporary physics tells us we all came from fragments out of the births and deaths of celestial bodies. The first particles, split from the singularity, are believed that they repeatedly clumped and scattered and then coalesced as oneselves for some unspecified reason. Then or thus, I have existed as something not as I for long since the beginning of time and space, and from a certain point, I have been apparently living during a short period of nowness perhaps as the only one chance to be what I am.

This work is a series of self-practices replicating 91 constellation maps covering all the wall surfaces of outer space observed from the geocentric position, following a single sentence, ‘we all are stardusts’. Within a great flow of the universe since the first divergence, all the atoms and molecules have been created out of fissions and fusions in dark space, and through some coincidence and energy, the blue marble, huge and tiny bodies and vitality of me and you have constituted. Even at this moment of an indifferent breath, the universe continues its steady diligence of spreading and condensing its dirt and dust, and the outer activities in this dull epic may let me practice the process of shedding, dropping, secreting and excreting as I am doing every moment, “in their image”. The discharges from everyday life of this person were not abandoned for a while but hoarded to work as a medium representing celestial bodies. These simile transcriptions with my daily dust have been launched from the nostalgic instinct of a human being with the inherent limitation of not being able to escape from the inertial surface of the given world, and with the plausible nonsense of pursuing the wholeness only in oneness.

serial behaviors, 2019-2021 (approx. 11,976 hours of solidifying duration)

Given Proposition

“It is possible to downscale the Earth into a ball in a single grip.”

Materials

Google Earth, inkjet printer, 1,046 letter sized PET films of overhead projection, 99% isopropyl ethanol tank, brush, thumb and index finger grip

Methods

Satellite images of every section on the Earth projected on the desktop screen shall be captured on Google Earth. The rule to define the dimension of subjects for capture is as follows. Only the numeric values of latitude and longitude shall be adjusted for a series of captures, and every dimension of screenshots shall have a latitudinal angle of 6° in height and a longitudinal angle of 10° in width. These fiducial values of boundary coordinates are designated from the chosen standard that the anchored value of altitude shall be fixed as 690,000 meters indicating around 428.746 miles above the sea level as a border line within the exosphere, and that a screen presents each satellite image corresponding to that amount of coordinate area. Since the other numeric values such as adjustments of tilt and viewpoint are not influentially significant to this experiment, those shall be entered zero. This condition shall produce the gross number of the entire segmental images of the Earth surface; 2(dual poles) + {(14 northern latitudes + 14 southern latitudes + 1 equator) × 36 longitudes} = 1,046 captures in total. The total quantity of captures shall be printed out on translucent films with 0.005” thickness of a sheet from an inkjet printer, and the prints shall be soaked in an ethanol tank to wash off the ink on the surface of the sheets. The solution of ink and ethanol shall be dehydrated and solidified into a state with a proper plasticity to be modelled as a spheric form by getting rolled between a thumb and an index finger of the experimenter.

Results

≈0.895” in diameter, ≈6.151328ml, ≈8.973027972028g on average (scale tolerance of ±0.005g, sample population=143 ⇒ sample standard deviation=0.002483591379)

The solution was getting darker and gradually equalled to the color of outer space, following the continual process of amalgamation. The sum of colors consisting of Earth’s surface came close to dark matter of outer space, just as when a number is divided by infinity, the value boils down to zeroness. While the extract of surface colors has blended into a single mix, the compulsion wanting to see the eventual oneness strongly gravitated the experimenter. In the pixels of color in prints, there might be the person as you and the other as me, amoebas and blue whales, all passed generations, every phase of qualities in relations, static moments and potential eternity of us, altitudes and depths, and all designated values which are full of horizontal and vertical diversity, and the mixture in absurdity was heading for darkness and oneness.

100.2”x78”, 2020

graphite and color pencil on 432 pieces of kraft paper

(to the deck)

4”x6” per each, 2020

144 deck of flash cards

107" x 107" per each, 2020

performative drawing with the artist height sized straightedge and compass, black and white oil pigment sticks on white and black seamless sheets

0. Convergence

https://youtu.be/SyQacM020vc

Given materials

A set of compass and straightedge tall as the performer’s height

12 black oil pigment sticks

A sheet of white paper

Formalities

0) The length of one side of the largest square drawn by the given straightedge shall be at least twice as long as the total length of the straightedge. This indicates a radius of the constructible circle shall be equal or shorter than the total length of the straightedge. 1) However, since the radius of the largest circle which the given compass can draw is smaller than the straightedge, just draw the largest circle with the compass. This circle is the starting point of this construction. 2) Draw a line from the imprinted mark at the center of the circle by the weight and rotatory power of the compass and a point on an arc of the drawn circle, and extend this line to the opposite side of the arc. 3) Set the compass on one end of the drawn line, and set its width beyond the center mark, and then draw two arcs respectively above and below the center point. Repeat it from the other end of the line. Place the straightedge through intersections of arcs and center point, and draw lines perpendicular to the previous line. 4) Draw lines between each of four points, and construct an inscribed square of the circle. 5) Set the compass on one vertex of the square, and set its width equal to the radius of the circle, and then draw two arcs respectively above(left) and below(right) the vertex. Repeat it from the other three. 6) Connect all four vertices and four intersections of arcs to create a circumscribed square. 7) Set the compass on the center point, and set its width narrower than the radius of the circle but widest within the circle. Repeat 2)~7). 7~n) Do not step outside the circle, and keep motions within the area of the circle.

Result

The construction ended in the moment when performer’s footsteps blackened the central area of the construction and further sequences were impossible to be processed with significant marks for consecutive constructions lost.

1. Divergence

https://youtu.be/_qhTcGODBBM

Given materials

A set of compass and straightedge the same length as the performer’s height

12 white oil pigment sticks

1 sheet of black paper

Formalities

0) The starting point of this construction, in principle, shall be a circle as small as a dot. Or at least the diameter of the circle shall be precisely as twice as diameter of the given oil pigment stick. 1) However, since the shortest width which the given compass presents is defined as the width of the compass in a fully folded state, just draw the smallest circle with the compass. This circle is the starting point of the construction. 2) Draw a line from one point on the arc of the circle through the imprinted mark at the center of the circle by the weight and rotatory force of the compass, extending the line to another point on the opposite side of the arc. 3) Set the compass on one end of the drawn line, and set its width equal to the radius of the circle, and then draw one arc larger than a semicircle through the previous circle. Repeat it at the opposite end of the line. 4) Set the compass on one end of the drawn line, and set its width beyond the center mark, and then draw two arcs respectively above and below the center point. Repeat it from the other end of the line. Draw a line through two intersections of arcs and the center point. 5) Draw lines between four intersections of arcs, and construct a circumscribed square of the circle. 6) Draw lines between each of four points on the arc of the circle, and construct an inscribed square of the circle. 7) Set the compass on the center point, and set its width wider than the radius of the circle but narrowest outside the circle. Repeat 2)~7). 7~n) Do not step within the construction, and keep motions outside the area of the circumscribed squares.

Result

The construction ended in the moment when the length of one side of the inscribed square became longer than the total length of the straightedge and further sequences were impossible to be processed with the largest inscribed square left unconstructed.

24 lunar phase-colored busts (expandable foam with pigments), 24 sky-hued pedestals (paint on wood, glass, graph paper) variable installation, 2019

variable installation, 2019

painted on wood

28”x28”x63”, 2018-19

paint on wood, plexiglas, felt, brass plaque, a live cockroach

It was a crash landing. The first step was put on the hilly zone up there where bushy fluffs cover the entire area growing dense and wide. The strands thriving on the ground were quite annoying with my steps tangled up with ciliums on my feet. At the center of the highland, there is a shiny zone which is a raised spot to climb up only one step more, and vent holes in irregular shapes vomiting fresh woody air. It was too bright and open for me to blank out alone. I needed some ideal place to think only about myself.* As always, I know the place well where I shall be. Addiction to comfort! I shrieked at heart. Hence here, at a corner, with my small head secreted under a shadow of my scutum, I tucked myself to the utmost limit. Every moment excessive comfort came to me, I went around the corner to find a more secure position, though the views in front of my antennas are always wontedly the same. In turning some laps around the corners, I stayed down at a tedious seat again. Someday I may crawl up there again but I delay the plan to do so. How long have my will been lost and distracted? Conservatism! It is macabrely pulling me far more than gravity. This sojourn makes any desire just evaporate into the cubic void and all the desires would develop as a fog falling down back much heavily soon. Perhaps, someone might have cast me to monitor my behaviors. But who cares?.... Once teasing the array of my legs out, I happened to touch the wall against which my side was loosely jammed. I inadvertently started to crawl up along the wall hanging in the air, in pursuit of something unknown and unclear way up over the highland, and far beyond this invisible wall.* At least, I felt like I had to do so. How far did I come up? Thereupon, my feeler bumped into a ceiling. Oh, I’m stuck inside here! I hissed at heart.

*Placing a live cockroach in the display was a lapse in judgement, as it was expected to wander from place to place within the case. These insects present a behavioral pattern of the introverted and passive. When it dropped at the showcase at first, it grasped the current environment within a few seconds, and hid itself at one corner so as not to be seen. This variable of its ethology, probably concretizes the uselessness of the vitrin

e case.

*Only one among three spare performers boldly scrambled up a translucent plexiglass panel. This unaccountable happening was caught by a real chance, and under any circumstance except this occasion, they did not merely budge an inch.

24" x 18" x 14", 2018

stenciling on wooden crate, black 2.0, dirts n dust (45-day-dirty life)

A hermit for 45 days (a high-pitched dependence on conservation law and a comparably dense ennui of making) - The minimum amount of necessities had only to be stocked in on for one-day livings within a 150 square-foot room. For the strict rule, everything entered into the room should not be deserted out of the room, with remnants of themselves stacked one after one. This could be an imaginative experiment to surely expect a private garbage patch floating on a rooftop loft of a tenement, as well as an escape from doing something to be justly made to doing something wasteful in a productive efficiency. Dare I say it in a different way, it was a sort of gratification of laying all the burdens down from a tangled brain, ceremonially pairing each speculative trash in any strata of cognition to each physical waste, wavily spreading them to fill the squareness of the cuboid, and letting them be observed by an experiment agent. On the last day, I slouched at the middle of the room and looked in a horror at the mounting pile of trash surrounding my comfort zone. In a great futility, the clean-up was committed. Under the skin of larger particles such as cereal boxes, kraft paper bags or dairy cartons, smaller objects such as soda bottles, banana peels or snack packs were layered by conforming with grain-size distribution. The only things rescued from this sweep was the lowest layer of dust, not bigger than my little toenails. The bunch of dust was packed up in a palm-sized empty box originally for acid brushes. - crystalized particles.

variable installation, 2017

various objects and media with images of Earth

The Earth is the maximum unit where we, human beings, can be alive, in spite of that we constantly try to explore the outer space. The Earth is our world, but our boundary at the same time, and this state is similar to each of human beings. I've known the world as much or less as I've gotten to know, and continuously transformed my knowledge and experiences into my personal value, or the standard of my vision. Thus, the image of Earth indicates humankind. The world is the field of antinomy in which contradictory ideas are colliding with each other. I thought it could be the very natural phenomenon not to be resolved unlike we are usually thinking. However, if so, would the world become Chaos? The world needs not to be the Cosmos but the Creative Chaos, the sub-ideal state of the absolute and ideal value. Ironically, the way to the Creative Chaos has been hidden and laiden within our community and history.

6”x4.5”x6”, 2020

vinyl paint on PLA

3.15" x 5.9" x 3.15", 2017

acrylic on plaster

In the nature, dung beetles carry and cherish others’ feces for their next generations as well as their own nutrition. The life of the beetle is apparently only for rolling the ball to its destination and laying an egg into it. In this piece, the Earth being rolled by the beetle refers to a self-made world, the collection of one’s experiences, the laminated lessons, or the lump of personal value rather than the real planet which we are standing on. It is the one’s own self. Jean Henri Fabre stated, the most dramatic scene of the beetle’s lifetime is the very time when they repeatedly try to fetch the slipped ball on a slope way for over twenty hours. In this piece, the beetle finally managed to roll its earth up, completing a uphill struggle.

various sizes and variable installation, 2017

shredded paper, pigments, natural materials

Here is a dunghill of all the different creatures. They covertly but proudly came here and took a shit. Various feeding behaviors, sizes of anus, digestive processes, colors of pancreatic juice and potential energies with respect to different drop points created these diverse forms of poop. In nature, animals never take a shit on a single appointed place. They only mark each of their own territories. I imagined they set a communal area for their defecation.

We all digest and take a shit. Others’ shit disgusts me. So does my shit. My world is bullshit to you, and your philosophy is dog poop to me. The faeces, disgusting to all others are stacked up and absorbed as nourishment into this planet. Everyone is born from the top of these faeces and resolves ourselves into them. I, myself, take a shit and carefully taste it again today.

All the species come from different environments and excrete differently. We can notice the individuality of different creatures by looking into differences of faeces. The subjects who excreted here are the metaphor of the various individual human beings. We all as subjective fragments cannot possibly understand each other, but at the same time, we all are a single species of humanity. The excrement of diverse life forms indicates the different values of us. Excrement is directly linked to digestion. Knowledge and experiences becomes truly one’s own only after one has well digested and excreted the intakes. Every human being cannot be defined as beings possessing a single trait but can be referred to as a single communal being. Thus, possessing diverse characters and philosophies, ‘All I’s altogether have been creating our history and community, making a true antinomic mystery.

145.3" x 74.8", 2017

handwriting on 100 sheets of 1,000-square manuscript paper

Repetitively written on these manuscripts are sentences in the same format: ‘All I’s have died and turned into ~.’ (in Korean). The first sentence reads, ‘All I’s died and turned into Narcissus.’ Beginning thus, the text completely fills 100 sheets of 1.000-square manuscript paper. All nouns in the text consist of animal names without any repetition. I did not name myself when I was born. Everyone is named by somebody else like grandparents or godparent but not by ourselves. However, by living through my own life, I gradually acquired my real name. So, everyone has died and turned into a Narcissus. A young man, who had looked into his own reflection in the water all day, offered up his own life with a yellowish flower, which has not looked up at the sun. Like him, we all are turning into something. I can tell, ‘Someone has turned into a blue whale. Someone else has turned into a ring-tailed lemur, an American bison or a northern Pacific krill.’

variable installation, 2016

found objects, white on geometrical structures

Twenty four objects and assemblages are arranged at a regular distance. With toing and froing the space, viewers are faced with the enigmatic arrangement composed of symbolic objects: a gold ore, a stuffed lion’s head, an unknown bird on a weathercock, a caterpillar cage with a lighting filled with dead Moths, two spheres on a staircase, and so on. These twenty four objects are chosen and made as the allegorical attributes of the character’s twenty four hours, solar terms and values which he or she experiences during his or her everyday life. The attributes embody the features of a man who is the representative of ‘all the ones’ as well as ‘everyone’. By setting up fictional situations and objects, I suggest the behaviors, attitudes and values that people need to be engaged in.

(From the left to the right) Cut-away of East Window_Brickwall on a Chair_Four White Powders_Green Plant injected with White Plant Food and White Plant injected with Green Plant Food_Unknown bird with a Seed in its beak sitting on a Weathercock with a Pearl in its mouth_Tri-Scale Ruler Revolving and Rotating at the same time_Soles of the Feet_Tickets stained with Coffee and Blueberries_Gold Ore_Stuffed Lion’s Head_Urine Bottles_Cut-away of West Window with a Moth_Chameleon stuck in Cotton Wool and a Spirit Burner vaporizing Vapo-rub_Coin Stacking and Card Building_Calendar dotted with Rainbow-Colored Spots_Globe with Scribbles and with Erased Marks_Concrete Column repaired with Blue Plaster Paste_Goldfish Bowl_Caterpillar Cage with a Lighting filled with Dead Moths_Himalayan Salt and ants_Page of Encyclopedia describing the ’Pantree’_Compasses drawing Circles on Graph Paper_Ship in a Bottle_Two Spheres lying on a Staircase and an Incline with a Picture of the Top of a Mountain

various sizes, 2016(1st edition), 2018(2nd edition)

13 labeled tin containers

'The actual characteristic of panaceas (cure-all medicines) is that those things have no efficacy of curing all kinds of diseases.' These bottles and cans are labeled as processed foods for medicine such as ”Turritopsis Nutricula (immortal jellyfish) Preserves“, ”Tinned Skink Tail“, ”Glass Sponge Liquer“, ”Tardigrade Enzyme“, ”Star-nosed Mole Jelly“, etc. Creatures as each edible content have biological peculiarities like a longevity with anti-aging, an ability to regenerate fresher cells, or a special sensitiveness to environments. Unlike the titles of these products, the bottles and cans are originally for varnishes made by some art supplies brands such as ”Winsor & Netwon”, “Lefranc & Bourgeois” or “Schmincke”. Artists want their working to make the our world brilliant, seeking for two conflicting values, “eternal significance” and “unprecedented originality” at once. However, those values can be accomplished only by everyday constant working, not by taking special medicines.

58.3" x 13.8" x 55.1", 2016

numbered rings, mushroom, various mediums

From a contour map depicting a bird’s-eye view of a human head to a blue brick wall with a window, twelve rings line up one behind another. The first five rings are twenty-three-sided, the next four are twenty-four-sided, and the last three are round. With the first number zero, from the second ring to the last one, recurring infinite decimals are lettered on both sides of each ring. Each number on the rings is multiples of the decimal, 1.0434782608695652173913..., obtained by dividing the natural number 24 by 23. From the first to the last, the numbers are circled in a spiral along perimeters of the rings. The last decimal comes 23.999... added twenty three times from the first decimal, while the sum from calculators comes 24. In my numerological system, 24 is the ultimately perfect number representing the cosmos, and 23 is the creative chaos, the potential point right before the cosmos. To reach 24, people try to get through the barriers, but we can just reach 23.999..., not 24.

58.3" x 13.8" x 55.1", 2016

numbered rings, mushrooms, various mediums

From a contour map depicting a bird’s-eye view of a human head to a blue brick wall with a window, twelve rings line up one behind another. The first five rings are twenty-three-sided, the next four are twenty-four-sided, and the last three are round. With the first number zero, from the second ring to the last one, recurring infinite decimals are lettered on both sides of each ring. Each number on the rings is multiples of the decimal, 1.0434782608695652173913..., obtained by dividing the natural number 24 by 23. From the first to the last, the numbers are circled in a spiral along perimeters of the rings. The last decimal comes 23.999... added twenty three times from the first decimal, while the sum from calculators comes 24. In my numerological system, 24 is the ultimately perfect number representing the cosmos, and 23 is the creative chaos, the potential point right before the cosmos. To reach 24, people try to get through the barriers, but we can just reach 23.999..., not 24.

37.8" x 78.7" x variable height, 2015

numbered angles, chameleon feet, thread, washers

Twenty-three-layered arrangement of angles, lengths of threads, poses and color-changes of a chameleon’s limbs, and numbers makes a sequential scene. Twenty three angles of white beams run from 60 degrees, one of the internal angles of equilateral triangles, to 165 degrees, one of the internal angles of equilateral icositetragons (24-sided polygons), becoming a straight line. These angles show each internal angle of regular polygons from a triangle and twenty-four-sided polygon to a circle with a diameter of one meter. The threads indicate the rest girths of each polygon except two sides of each polygon. On every right side of the angles, are written recurring infinite decimals, multiples of the recurring decimal obtained by dividing 24 by 23. On each left side of the angles, are attached chameleon’s feet changing colors from greenish and bluish to pinkish. Since the angles are getting wider and their lengths shorter as those go on, the location of chameleon’s feet gradually moves up.

variable installation, 2014

horseman, color glass, parabolic mirror, etc.

Visible only through a single hole in a dark brown solid wall, a crowned horseman is rotating around an axis and colorful lights flashing the horseman in the distance. The movement of the horseman reminds of a partial scene of a carousel in an amusement park. The image of the horseman repeats getting tangible and distorted, relative to its rotating motion. The size of the hole is as wide as one can dip into, so the viewers try to touch the horseman model inside. However, no one can touch the model because it is just an illusion reflected by a parabolic mirror. The wall of an amusement park is the boundary line between one’s ideal fantasy and real existence. Through a penetrable portal, everyone can watch oneself riding within the heavenly situation despite the fact that the figure is intangible and dreamy.

56.3" x 24.4" x 35.8", 2015

inflatable T-rex, cactus, muscular chart, perfume

An inflatable T-rex is standing in front of a thorny cactus and blowing the lily-flower-fragrant breath on it, keeping a safe distance not to burst. On the opposite side, a chart of human muscular system is framed. Since the human figure turns its back on viewers, it faces the dinosaur. In the late Cretaceous period, dinosaurs gradually swelled their own bodies to eat more sprouts on the top of giant trees. To survive from the gigantic dinosaurs, plants started blooming. These short flowering plants were unsuitable for the dinosaurs to reach, eat and digest. Finally, dinosaurs died off of self-preservation by swelling themselves. Meanwhile, mammals have been in league with flowering plants, by timing their mating and bearing seasons to coincide with plants’ flowering and fruiting seasons. Due to this evolutionary process, human beings finally call flowers to mind as the symbol of love. In this enigmatic assemblage, the inflatable dinosaur is positioned as the true human being.

97.2" x 53.9" x 100.4", 2015

supplies in open-set studio, blue built-in cage

This open-set studio is built for a character’s home. Supplies on the desk show that he works as a draftsman who draws architectural structures with compasses and straightedges on graphing paper. In the right side of the studio is a blue cubic space with a blue glass panel and a bird-sitting T-stick. The draftsman raises a satin bowerbird in the blue built-in cage. A male satin bowerbird in the wild has a unique habit of hoarding blue stuffs around its bower-like house with a door to attract its mate. The male bird in the cage may desire to collect blue-looking stuffs reflected by the blue glass panel which divides the living space of itself from that of its owner. However, if the glass breaks, there will be little or nothing for the bird to take. As if the bird sees the world only through the blue glass panel, the draftsman looks the world just through the plane of grid, in spite of the fact that outer world over the front door should be different from his thought.

39.4" x 39.4" x variable height, 2014

various media

This figure is based on the body structure of human beings and is divided into three parts: a silhouette, upper structure and lower structure. From the top of the work, a transparent silhouette of a hand (ulnar claw) on the wall is pointing the upper structure. Under the silhouette, three layers of hand lenses are hung in the air. On the spot toward which the lenses are facing, is a triple-necked round flask with a funnel. Inside the funnel, a blue sphere seems melting and the molten liquid goes into the flask containing pinkish substance. On the floor, four dark bluish human legs are holding up a grey discus. On the center of the discus, a sugar pyramid is placed with a green asparagus on the tip of it. With biological features of human beings and physical traits of stuffs, this composition expresses the human mechanism and process of receiving information, constructing each individual’s own world, and keeping human communities lasting.

https://youtu.be/nBggXZzWle8

00:05:30:11, 2013-2016

balloon, ice block, paint on tie-wraps, thread

A round balloon is connected with an ice block by a thread. As time flows and the ice is getting melted, a sun-like color wheel stuck into the ice comes into view. When the ice melts down as much as the color wheel becomes free from the ice, the balloon rises high up in the air, hanging the wheel. Filmed at the right time between the ice-melting and the balloon-soaring, this documentary video captures and shows the progress of an artificial rainbow-rising. In reality, viewers have to stay for a very long and tedious time to catch the very moment when the rainbow comes up in the sky. Then in a short time, it vanishes into thin air and goes somewhere in vain. Fantasies latent within ourselves sometimes emerge at the unexpected moments and disappear as if nothing happened. The word in the title, ‘Kairos’ is a Greek word meaning the ‘indeterminate supreme time’ in which an event of significance happens.

23.6" x 13.8" x 13.8" per each box, 2013

lettered nine wooden boxes, nine documents

Nine wooden boxes of uniform size and volume are arranged at regular distances. On every corner of all the boxes, are alphabetic signs. These signs are coded names of nine products. For example, SJB25-C is the serial number for chocolate paste pumps made by Wanshunda, China, or T505401 is for bidets made by Senso Ambiente, Romania. These nine items were selected because of their same size (600-millimeter-long, 350-millimeter-wide and 350-millimeter-tall). In front of the box arrangement, nine sheets of documents are placed by equal spaces and correspond one-to-one with the wooden boxes. Each of these nine documents describes a certain target that each code written on the boxes calls. The descriptions explain the shapes of items geometrically and prepositionally without any contents for their functions and usages. Since the lengths of the texts are different from each other and the texts fill up the entire space of each sheet of paper, the font sizes of each text are different.

variable installation, 2011

painted on wooden crate construction, cement floorings, styrofoam, sponge, rail lighting, delivery palettes, vinyl sheet, desiccant packets, moth