The title and form of this artwork “Fog” create a contrast that highlights the complex relationship between form and perception. Through a map of Paju, a city located in the upper west of Seoul, the work represents the complexities of geographical and political boundaries.

I chose Paju for two reasons. The first reason is that some areas within Paju do not have any residents due to their proximity to North Korea. Although there is a clear boundary, it feels as though these areas are obscure because they are located near North Korea. The second reason is that, due to the absence of residents, these areas are not displayed on electoral maps as there are no eligible voters. As a result, there is a discrepancy between the shape of the electoral map and the administrative map of Paju.

To express the changing nature of fog – fluid and boundary-less – I overlaid the current map of Paju with a 17th-century map (Daedongyeo Map), aligned key points such as mountains and rivers, and used the new map as a template to cut and stack sheets of plywood. The final product has a fog-like shape that is not immediately visible and cannot be seen in its entirety.

The structure of this artwork comes from a propeller. I began working on this project based on the imaginary scenario of the propeller wings meeting, despite the impossibility posed by their structure.

The wings have distinct structures that were created using different methods. The lower wing’s shape is based on a 3D scan of a smaller clay prototype, which was initially sculpted by hand. On other hand, the upper wing was designed using computer-aided design software. Afterwards, both wings were manufactured by laminating layers of fiberglass and resin. The lower wing and upper wing only share formal similarities, but their components are different. The contrasting shapes of the wings either ignite the imagination of transformation or prompt perception of their differences.

While reading the eponymous book by Jean-Luc Nancy, I came across the phrase "Touch me not" inscribed on the wings. The phrase a biblical reference to Jesus Christ's words in John 20:17 when he encountered Mary after his resurrection. The text would serve as an apt representation of work that depicts the interplay between attachment and detachment of the wings.

Although fore- and hindwings appear to have been designed to overlap, the structure of the propeller prevents them from meeting. Both the back of the leading blade and the front of the trailing blade bear the same inscription in reversed forms, suggesting a connection between the two parts.

The phrase brings in the concept of the body and sheds light on multiple interpretations of departure, contact, presence, and divinity. The use of this biblical passage underscores the idea that the structure depicted is not feasible, as the primary sense it evokes is touch, and the corresponding sense is sight, which can be questioned.

The title “Metamorphosis” is borrowed from Kafka's novel, which depicts the protagonist's transformation into a bug and his subsequent demise. The novel primarily explores the physical transformation of the human body, including the protagonist's struggle to accept his new form and the ultimate end of his life in this state.

I sought to merge two distinct elements, both relevant to transformation. On the outside, I wanted the novel to serve as a representation of the work. On the interior, I incorporated a biblical passage that would add further meaning and context to the artwork.

This three-dimensional piece features a front and back that are inverted yet coexist in the same form. This piece is made up of elements that define a mirror, but ultimately doesn't have the functionality of a mirror as we know it.
The use of forms and elements that define this mirror pays homage to the traditional idea of a mirror, but the final result is a very thin sculptural piece.