Lost in Transition

Taehwa River exhibits its original course to the mouth of Tsushima Strait. The plasticity of its meanders, reflects the obstacles it crosses, showing the riverbed of evidence that it fights through the ages and seasons. Deposits that it carries, rubbed along its passage, transforming to a diversity of soils environments.

The between the highest -the Taebaek peaks and their reservoir of water, seeds and fresh air, and the lowest-the seabed and their reservoir of continuous cultures and migrations, brews itself into this fragment of garden.

The dynamics of the flows and its power of morphogens are pregnant; from the atmosphere with the whirlwinds of air and differential attractions between elements, to the seabed with masses of water, fish and fishponds in transit, into the infra-thin bodies with solid liquid defectors of our intimacies.

Tracing the garden, as receptacle of phenomena, in this riverbed relays these dynamics to perpetual formations-reformations and initiates 'appearances' which capture decaying and fading memory of these transitions.

Water sneaks into the folds on the riverbank and crevices. Foliage filters stripes of light to the ground reflections. Mosses cling to the asperities of the deposits. Sheers protect an interlude of relaxation amidst the plants. Shoots of the year and their umbels communicate vigor of fertile soils.

Footprints and handprints of the men who build up the garden invokes the tradition of petroglyphs flush with the rocks of Ulsan, which exposes the terrestrial food, in grateful of their benefits. Lost in transition retains the alliances between humanities and environments relaying beyond the strictly human temporalities.

« The image, capable of producing the effect of strangeness, thus enacts a kind of experiment, by showing us that what things are is perhaps what they are not, that it is up to us to see them otherwise and, through that opening, to imagine them other, then to see them as being other in reality» 

Maurice Blanchot L’effet d’étrangeté (1957-1960), L’Entretien Infini, 1969