1.

Motivation
I have been using my body to sense the changes that occur within the flow of time, and to express these changes.

And in expressing these changes, I have created certain rules to follow and carried them out. However, it seemed that this
method of working had its limitations in capturing the ever-changing moments, and I have come to emphasize and develop
the performative and auditory aspects of my work. For example, in 2018, during the “Tide” performance at the 'Song Eun
Art Cube', my body was flowing along with time within the piece, highlighting the ‘present’.

This shift in my practice is a major reason why I decided to apply to 'Foundation Fiminco', known to have an affinity for
performance- and sound-based projects with ample resources.

And the reason that France interests me is because it embodies a very different sensibility of time from South Korea, where I
live. Korean time is severed, like amnesia. Most buildings are less than 30 years old. The restaurants I used to like 10 years
ago have mostly been replaced by international franchises. It is difficult to imagine an image of the past in this place. In
contrast, in Europe which includes France, the past is accumulated and embedded in the buildings and streets that evoke the
stories and legends that survive, hidden.

My work at the residency will combine my preexisting interests and methods with the locality of Romainville, France, where
in Foundation Fiminco is located. As I have in my previous body of work, I will immerse myself in the location to observe
its modal complexion and use my body as a medium to communicate spontaneously. I could collect objects, conversations,
or discover patterns of movement.

Working in places with unique identities have always been a part of my practice, and to provide deeper understanding I will
be introducing two of my past projects.

2. Past Works on Time and Space

-“Tide” project-2017 / Jeju Island (performance at Song Eun Art Cube, 2018)

Jeju Island is a beautiful island surrounded by the sea. But the ocean currents continuously bring international driftage. I
visited a residency there as a part of an ecological project. For a month I stayed at the residency and went out to the sea every
day. Each day different objects flowed in with the waves changing positions, and I noticed that the shoreline was in constant
flux.

Based on this experience, I carried out the “Tide” project. I took my collection of driftage into the exhibition space and
performed in sync with the flood tides. Twice a day, when the flood tide would come, my body became the waves to push
and sweep the driftage. I rolled and fell but got back up and made waves. The exhibition space was transformed after each
performance.

-“Transplanting” project-2015 / Mangwon-dong, Seoul

In summer of 2015, Mangwon-dong, Seoul was in the middle of redevelopment. I used to live nearby, and while on a bus
passing by I was compelled by curiosity to go into the redevelopment zone. People had already relocated, leaving behind
broken glass and refuse on the ground. The most populous kind of refuse were flowerpots. Roses, tomatoes, cucumbers,
strawberries, and more were bearing fruit and blooming even without the care of people. Redevelopment is always a
dilemma. This place harbored controversy for a long time due to people who were able to close their different opinions.

I collected the discarded flowerpots and staged a performance where I placed them in the streets to parcel out, free of charge,
to pedestrians. I mended the broken ones and replenished lost soil on others to send off to new homes. Although a new
apartment complex came to stand there, oftentimes I think about how the plants might be doing when I pass by.

3 Future Possible Projects

Due to the location-specific and spontaneous nature of my process it is difficult to provide concrete visualizations of plans.
What I can say with clarity is that my work will be about my primary interests; beings that change in subtly varying speeds
within the flow of time, and using the body as medium, to embody the landscape or objects. And that all of this will progress
into an open ending.

I mentioned earlier about the temporal sensibility of France. I feel that while France seems to be a place of rich history and
peace, it also is a place that attracts tourists from all over the world. It is a place where various social issues clash and cry out
constantly.

I have considered how I would be making work about the temporal sensibility or pace of this place, that differ from the one
that I have experienced in Korea, on a general level. For instance, I try to live out my daily life in an excessively slow pace,
in locations that house fast-paced action such as the way to work or street protests. Or, conversely, I would adopt an
excessively fast pace of life in places of leisure and rest that operate on a slower pace. Altered speed performances will be
edited to appear to be in regular pace and archived in video format. This project, called “The speed of a journey”, was
considered with the possibility of producing both the performance itself and the video output as final products.

However, all of this can change once I have experienced France directly.

I am looking forward to the yet-to-be-realized future possible projects with a curious and open heart.